Gopi Entertainment’s Nayan (Marathi; UA) is the story of a school-going boy, Nayan (Siddhesh Pai). He loves to cross-dress and dance, but his father, Rajesh (Suhas Palshikar), hates him doing that. Rajesh has childhood memories of his father telling him to cross-dress and dance but unable to bear the ridicule, Rajesh had run away and settled in the village where he now lives with his wife (Anshumala Patil), son and daughter, Roshni (Reena Liman). One day, the doctor tells Nayan’s father that although Nayan is a male, he has sex organs of a female. He advises the father to take Nayan to Bombay for treatment. Unable to bear the ignominy and calamities which befall his family because of his condition, Nayan runs away from home and comes to Bombay.
Meanwhile, Iyengar Swami (Deepak Shirke) is eyeing the village land to build a resort on it. He has deputed Vishwas (Ganesh Yadav) and Gaitonde (Vijay Patkar) to buy out the land. Rajesh has been resisting selling his land.
In Bombay, Nayan meets Prerna (Shrinidhi Shetty), a victim of gang rape.
What happens thereafter? Does Nayan reunite with his family? What happens to Vishwas and Gaitonde? And what about Nayan?
Ankush Vitthal More has written a story which is silly and meanders aimlessly. Narayan Gondal’s screenplay tries to pack in so many incidents and so many tracks that the end result is utter nonsense. Nothing makes any kind of impact whatsoever. Ankush Vitthal More’s dialogues are dull.
Siddhesh Pai is weak in the role of Nayan. Suhas Palshikar is okay as Rajesh. Ganesh Yadav leaves a fair impression as Vishwas. Vijay Patkar lends average support as Gaitonde. Anshumala Patil is unimpressive as Nayan’s mother. Pratap Raorane is dull as Gaitonde’s son, Pakya. Monalisa Bagal is ordinary in a brief role as Manasi. Reena Liman passes muster as Nayan’s sister, Roshni. Deepak Shirke fails to make a mark as Iyengar Swami. Shrinidhi Shetty is passable as Prerna. Others provide dull support.
Ankush Vitthal More’s direction is terrible. Vikrant Warde’s music is weak. Lyrics are commonplace. Siddharth Pai’s choreography is dull. Pankaj Padghan’s background music is below the mark. Rajan Phadtare’s camerawork is so-so. Subodh Sudhakar Narkar’s editing is loose.
On the whole, Nayan will meet with a disastrous fate at the ticket windows.
Released on 21-3-’25 at Movie Time Goregaon (daily 1 show) and another cinema of Bombay thru Box Hit Movies. Publicity & opening: terribly poor.