‘Nai Nabhannu La 4’ movie review: An unholy mess


There is a law in Physics which says that all matter tend to change from a state of order to complete disorder. Once pure and natural, the matter then perpetually heads towards a state of chaos from which it can never go back to its original form.

It’s only natural that this is applicable to director Bikash Raj Acharya’s Nai Nabhannu La 4, the fourth installment in a series of vaguely-related movies of the same name.

The movie continues the series’ tradition of exploiting romance by glorifying it and then reducing it to a device to put in a smattering of comic sketches, mawkish songs sequences and badly-timed pop cultural references in a two-hour runtime.

Add to that, a sense of self indulgence and complete disregard for subtlety, and you get Nai Nabhannu La 4. It could very well be a case study of what is wrong with most Nepali movies.

If this is what a major Nepali movie franchise in 2016 looks like, I will look somewhere else.

In the movie, Neer (Paul Shah) is deep in unrequited love. But before he can get over the loss of Aanchal (Aanchal Sharma), his girl of pursuit, Anjana (Barsha Raut) starts hounding him for her own interest. It’s better to love someone back than to be in a sorry state due to unrequited love, states the movie in recurring scenes.

The movie continues the series’ tradition of exploiting romance by glorifying it and then reducing it to a device to put in together a smattering of comic sketches, mawkish songs sequences and badly-timed pop cultural references.

However, if you can care for any of these broadly stroked characters, give yourself a pat on  the back.

Director Acharya is more than comfortable with tropes than character arcs. And if you have any doubt about this, his heroine spells it out for you. “I am Emma Watson from The Fault in our Stars and you are Salman Khan from Tere Naam,” says Anjana to Neer.

Acharya’s characters are more of a device used to cash in the tragedy the story entails, and nothing more.

Nonetheless, however limiting the story may be, director Acharya has a definite love for the visual medium. This is apparent in the selection of locations, even if they serve nothing more than a pastiche to other lavishly mounted musicals.

In between the unforgivable incoherence of scenes and story arc, cinematographer Purushottam Pradhan’s frames shine through.

This sense of self indulgence, of romanticising our locales, is applicable to most Nepali movies shot in the recent years after the move from celluloid to digital. It’s more beautifully realised with Nai Nabhannu La 4. If only our filmmakers had anything worthwhile to situate in it.


Also read

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Published on April 15th, Friday, 2016 3:15 PM

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  • Ani Ruddha says: | December 13 2016 11:05pm

    Nai Nabhannu La 4 is a terrific movie. It not only went beyond my expectation of a family friendly Nepali movie but also raised the bar for romantic comedies in Nepal. (I could be guilty in this case for not following with Nepali movies for almost a decade now.) The movie had a very nice flow or rhythm to it. The opening was nicely done by introducing a suspense element: an unfamiliar buried site, then switching to sub plots and flash-backs within the story to establish relationships between the characters and eventually unfold the identity of the beloved dead. I have been guilty in the past of analyzing the movie too much, comparing it with various esteemed crafts in the industry especially influenced by the West that the whole movie experience became somewhat painful and weary. My lag in this area let me enjoy this movie since it totally eradicated by preconceived notions on so-called ideals for a movie. Although some dialogues did not seem colloquial, the talent’s crafts made it acceptable, which otherwise in most of the cases would have made one cringe. The movie very well played with the emotional factor-an icing to any romantic comedies, luscious cinematography and eye candies Achal, Paul and Barsat .
    There seem to be some spiritual undertone and theme running all over the story that made the movie a more pleasurable experience for someone having prior knowledge or information on the matter-the conception of pure love in an absolute sense. This was also reflected in the song “Magne banayau”, which literally means your love has turned me into a mendicant. Pure love means love without any hidden agenda or motivation, even up to the extent of one’s own sense gratification. Hence, it is an impossibility in the material world where the characters are bound in and the story very well plays with this concept. Anjana follows her heart in sweet obstinacy but fears and opposes insanity in love not realizing that insanity is in fact the epitomic symptom when it comes to the experience of pure love in the material world. In material standard pure love is an insanity because the idea itself is imperceptible to the mundane eye. The movie finally comes to a closure to this fact.


  • Santos sapkota says: | November 11 2016 9:13am

    A very much rubbish piece of s**t, just wasted half an hour of my life. If this is how Nepali movies look like, it’s better starting making one yourself.


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