Mudhal Idam is a brain-dead film with, too many songs, too many fight sequences, inconsequential village politics and high-handed sermonizing about true masculinity.
| Rohit Ramachandran
Actors, who've acted in the best films in recent times, by getting together and repeating themselves, have just descended into artistic impoverishment. This phase is called Mudhal Idam. First place. You heard the adage "Everyone starts at the bottom"? I think that's what their project intended to do. Bring them back to where they started, before they acquired the talent they did. And the producers have just made the film smarter by marketing it with the poster of a golden trophy.
These aren't words of hate. They aren't words of love either. They're words of boredom. You come out of a movie that was solely made to preach crap that you don't buy; this is just how you feel. Debutant Kumaran is dragging the movie through tested waters for over two hours with the audience being given the Ludovico treatment. The producers haven't funded the screenplay; they've funded the actors. The story is a mish mash of a range of exploitable elements from Kollywood products. But they've got a plan. To bring actors who've just had a taste of real success and push them uphill, with respect to popularity alone. This strategy makes the film easy to market and sell. Mudhal Idam is a brain-dead film with, too many songs, too many fight sequences, inconsequential village politics and high-handed sermonizing about true masculinity. A scene worth bringing up has a sparrow saving gangsters from a bomb. We're shown village rowdies with sickles all along. Where the heck did the bomb come from? Cheat code? The screwball comedy aspect of the film personifies Vikram's character in Deiva Thirumagal. It is too immature to handle, let alone be a part of- food being thrown on people's faces, obnoxious looking characters acting retarded, loud noises being played when wives hit their husbands, and underwear.
If it was Mynaa in Mynaa, it is Mythili in Mudhal Idam. Vidharth again lusts after a schoolgirl and is willing to do 'anything' for her. The characterization is so poorly done that it is impossible to relate to them, unless you are a movie character. Vidharth delivered one of the best male performances from last year with Mynaa. Here, he has a leftover screen presence and you watch him only because you liked his character in Mynaa. About the lead actress, Kavitha Nair, I couldn't help noticing the perfect alignment of her teeth. That was the only part of her face she could animate. In my honest opinion, she'd be better off playing poker or endorsing toothpaste.
After a point, it became evident that the film had worked itself beyond redemption and I just had to walk out. There's a lot of goodwill talk that's gone into the preaching. Especially when Vidharth is helped by a man whose hand was severed off by Vidharth himself. Kumaran is trying here for Karl Marx but he misfires like that drunk stranger on the road.
You're going to get restless in your seat. Better sit with your arms folded or you might just strike someone when you wave your hand about hoping to find a remote.
Critic: Rohit Ramachandran
1 out of 5 (Poor)
WHAT THE RATINGS MEAN:
0.0 - 1.4 : Poor
1.5 - 1.7: Poor, A Few Good Parts
1.8 - 2.3: Average
2.4 - 2.9: Fairly Good
3.0 - 3.4: Good
3.5 - 5.0: Very Good