The Many Shades Of Nithya Menen
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Whether she is at the centre of the story or on its periphery, Nithya has a way of making her presence felt — quietly, confidently, and powerfully. These performances only underline this fact, writes Neelima Menon. |
IN A FILM INDUSTRY that often sidelines its female characters or reduces them to romantic accessories, Nithya Menen consistently brings nuance, soul, and spark to every role she takes on. Whether she’s at the centre of the story or on its periphery, Nithya has a way of making her presence felt — quietly, confidently, and powerfully. Here are five standout characters that she completely made her own. In the recent Thalaivan Thalaivii — an otherwise mindless concoction of melodrama, loud conflicts, and yelling matches — the only real relief comes in the form of Nithya Menen’s Perarasi . She plays a robust, impulsive, and sharp-tongued young woman who marries Aagasaveeran (Vijay Sethupathi). She’s a postgraduate, he’s a tenth-fail, and the script offers no compelling reason for this union except, perhaps, a shared appetite for food and drama. Yet somehow, Nithya sells the relationship with such conviction that we’re willing to buy into this odd pairing. Stream the latest Malayalam, Tamil, Telugu and Kannada releases, with OTTplay Premium's Power Play monthly pack, for only Rs 149. |
What could have easily turned into a string of overwrought television-style melodrama is lifted by the sheer warmth and conviction she brings to each moment. Whether she’s tucking into her bun parottas soaked in mutton gravy with childlike relish, or silencing Aagasaveeran with a single, withering glance, or navigating the suffocating dynamics of her in-laws’ home with quiet rage, Nithya infuses each moment with such specificity. Perarasi may not have been written with much nuance, but Nithya’s performance fills in all the emotional blanks. She humanises the absurdity around her and brings a soft dignity to even the loudest of scenes. ALSO READ | Thalaivan Thalaivii: When and where to stream Vijay Sethupathi and Nithya Menen’s romantic drama |
Unlike Perarasi in Thalaivan Thalaivi, a character elevated more by Nithya Menen’s talent than the writing, Shobana in Thiruchitrambalam stands tall as one of her finest, most well-etched characters. She isn’t just a sounding board to Pazham (Dhanush); her presence alone shapes much of the emotional core of the film. At first glance, Shobana may come across as this chirpy, supportive best friend who treats Pazham with warmth, familiarity, and a kind of easygoing humour. But it soon becomes apparent that it’s a mask to bury her deeper, unspoken feelings for him. While Pazham flits between infatuations, falling for every woman who shows him a modicum of attention, Shobana remains steady, a constant presence in his life. While Pazham is insecure, moody, and stuck in his emotional rut, Shobana is cheerful, emotionally sorted, and carries a quiet optimism. Menen’s portrayal is stripped of artifice. Her smile, luminous and unaffected, says more than pages of dialogue ever could. She inhabits Shobana with such unforced grace that even the most ordinary scenes turn emotionally resonant. |
Take, for instance, the scene where she earnestly recites a cheesy poem. In anyone else’s hands, it might have felt silly or cringe-inducing. But Nithya brings a kind of sincerity to it that’s unexpectedly touching. Or that fleeting moment when she stares at Pazham with a mix of hurt and disbelief after being mocked by his former classmates and friends — we can feel the hurt simmering over. One of the most memorable scenes comes when she storms into a room, confronts Prakash Raj’s character, angrily throws his shoes, then walks out — only to return seconds later, silently pick up the same shoes, and begin polishing them. It’s a moment that blends fire and fragility, rebellion and resignation. Her chemistry with Dhanush is built on small glances, shared silences, and unspoken understanding. Their camaraderie feels lived-in, like two people who’ve known each other long enough to see beyond facades. Shobana is a reminder of how deeply affecting a performance can be when rooted in truth, restraint, and heart. Tara in OK Kanmani is a stark contrast to characters like Shobana or Perarasi. She is a free spirit shaped by the emotional wreckage of her upbringing — having witnessed the breakdown of her parents' marriage, she views the institution with scepticism, if not outright cynicism. Tara is ambitious, fiercely independent, and someone who knows exactly what she wants from life. But when Aadi (Dulquer Salmaan) enters her life, she’s swept up in the heady rush of love, slowly forced to reassess her priorities. |
Mani Ratnam, the master of whimsical romance, keeps the tone light and dreamy, and both Dulquer and Nithya embody that perfectly. Yet, what Nithya brings is a quiet dignity and emotional depth that grounds the relationship. Even in a modern, live-in setup, she carries an old-world charm — never overstated, always authentic. In scenes that could have felt airy or trivial, Nithya injects an intensity and poignancy that lingers. Whether Tara is bantering with Aadi, quietly observing the elderly couple they live with, or grappling with the fear of emotional vulnerability, Nithya makes every moment count. Her Tara is not just a lover or a muse — she’s a woman negotiating the complex dance between independence and intimacy. |
Though Sahana in Ustad Hotel shares some of Tara’s free-spirited energy, the two come from vastly different worlds. Sahana belongs to a conservative Muslim family, where she has to constantly negotiate with patriarchy to carve out a space for herself. But that doesn’t stop her from hopping over compound walls, slipping out of her pardah, and rapping with gleeful defiance. She’s quietly asserting her right to be heard. Her relationship with Faizi (Dulquer Salmaan) unfolds gently, with warmth and subtlety. There’s no overt drama, just two people slowly discovering each other. |
One of the film’s most poignant moments is when Faizi insists on chasing a job abroad despite his grandfather’s illness. Sahana doesn't confront him with anger, but her disappointment is unmistakable. She gives him the freedom to choose, but not without letting him know how selfish that choice feels. Though it was one of Nithya Menen’s earlier roles, it hinted at an actor of remarkable emotional intelligence — someone who could hold the screen with quiet strength and anchor a film without ever raising her voice. Sahana may not be the central character in Ustad Hotel, but Nithya gives her enough texture and depth to leave a lasting impression. The reason Aishwarya Venkataraman from Mersal earns her place on this list is simple: in a film dominated by three Vijays, two heroines, and an avalanche of massy moments, it’s Nithya Menen’s feisty Aishwarya who truly leaves a lasting impact. On paper, Aishwarya seems like the typical lovable village wife — a spirited woman engaged in a comical bet with her mother about who will bear more children. She’s married to Vetrimaaran, the revered wrestler and chieftain, and though he dotes on her, the arc feels familiar and easy to predict. But that’s precisely where Nithya makes all the difference. |
She infuses Aishwarya with mischief, magnetism, and an irresistible robustness that elevates her from stereotype to standout. There’s a sparkle in her eyes, a deliberate playfulness in her body language, and an emotional openness that makes even the most routine scenes feel vibrant. Even as Vetri takes centrestage with high-octane action and mass moments, your eyes often search for Aishwarya — for her spark, her energy, her presence. Aishwarya is a brief presence in Mersal, but thanks to Nithya, she lingers in memory — fierce, full of life, and unforgettable. Watch Mersal , Ustad Hotel , OK Kanmani , Thiruchitrambalam and more of Nithya Menen's work on OTTplay Premium, now available in a limited-time monthly offer at just Rs 149. Subscribe now! |
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