PULIKKUTHI PANDI (2021)
 |
| Critic - No. 191 |
Director: M Muthiah
Produced by: SUN Entertainment
Casts: Vikram Prabhu, Lakshmi Menon, Samuthirakani, Vela Ramamoorthy, R.K.Suresh, Singam Puli, Dheena, Bala
Language: Tamil
Music: N.R. Raghunathan
Genre: Action, Drama
SYNOPSIS:
Pulikkuthi Pandi (Vikram Prabhu), a ruthless youngster who fights for justice, transforms into a kind and humble husband for his wife, Pechi (Lakshmi Menon). But as fate turns brutal, his patience is tested.
REVIEW:
After a decent streak of 5 rural dramas, director Muthaiah has anchored his trademark and filmmaking voice within the genre. Out of his previous films, I liked his treatment for Komban (2015) and Marudhu (2016) where he has centered his story against relationship conflicts and stakes, in a very earnest manner. Despite being quite inconsistent in character building, Muthiah’s films typically work to tell a message in the end for the audience (fully convincing or not is another issue).
Shot during the pandemic period, Pulikkuthi Pandi, from the start carries the flavour of his previous films, kicking in with a bloodshed flashback that sets the heavy mood for the audience. As a direct to TV film, it is quite interesting to see Indian television allowing such graphic violence to be broadcasted. The prelude is strong and menacing but then the film transits to the present where we are introduced to the man lead, Pulikkuthi Pandi, in a very ‘to the face’ message-filled song.
Scenes in the first half are kept very generic and predictable with surface-level scenes to register the goodness of the main lead. The romantic and comedy track looks forced, almost giving us the feeling that it was ripped off from Muthaiah’s previous films whereas the flashback introducing Pandi’s father’s death. The flashback again sets a promising context to Pandi’s forgiving nature and the interval conflict between hero-villains is spot on. After a templatized first half, we finally move into the skin of the story.
I liked the way Pechi is involved in the conflict and the escalations between the main confrontations keeps building on interestingly. The film then races to a shocking pre-climax and a bloody good but filmy ending. Given the patriarchal nature of films in India, it was extremely satisfying to get a tint surprise there.
Vikram Prabhu, though looks convincing as Pandi, lacks the conviction or confidence he had in films like Kumki (2012). RK Suresh and Vela Ramamoorthy who are stereotyped for such roles, do a good job too. There are lots of supporting actors as well (predominantly actors from TV serials) who have given sincere performances and it was quite relieving to see Kalakapovathu Yaaru (stand-up comedy TV show) fames, Bala and Dheena in quite prominent roles. Samuthirakani yet again does a Samuthirakani (do-gooder) here, neatly. The songs are serious speed breakers while N.R. Raghunathan should have given much more oomph through his score for some interesting disputes staged in the second half.
Compared to his past 2 films before this, Muthaiah has given a better, different film with some surprises. If he tightens his screenplay to be more engaging and focused as his plot points, discarding his template behind, there’s no doubt he could create a wave in rural films in Tamil cinema.
VERDICT:
Muthaiah comes up with another violent, templatised rural drama with a few climatic surprises that compensates for its shortcomings.
CELLULOID METER- 3/5:
Comments
Post a Comment