Right after the discharge of Kabali, Pa Ranjith, in an interview with a Tamil TV channel, had mentioned that there’s no use of Ambedkar being born in a socially backward class anymore. He mentioned Ambedkar ought to come from the higher class of society, which might carry a couple of change. Kazhuvethi Moorkkan has an analogous premise. Moorkkan (Arulnithi) belongs to a dominant caste in Ramanthapuram. The caste names within the movies aren’t mentioned out loud for apparent causes, however the actor’s moustache is a giveaway. The movie delves into even the politics behind the moustache. Bhoominatha (Santhosh Pratap), Moorkan’s beloved pal, who belongs to the oppressed group, factors out that one has to belong to a sure caste to even develop a giant moustache as Moorkkan. In one other occasion, an ageing financial institution safety guard, who’s ordered to eliminate Moorkan, pleads to him secretly to go away with out inflicting him any hassle. The guard factors out how they each have the identical type of moustache, which is the one qualification he has for the job. The good writing exposes the frailty behind the twirling moustaches.

Bhoomi is a social activist, who works for the progress of his group. On the opposite hand, Moorkkan is a jobless ruffian, who stands up for Bhoomi at any time when he has to. Their friendship is odd within the eyes of the remainder of the villagers and even irritates the higher caste folks. When the poster of an higher caste chief is torn and dirty, Bhoomi finally ends up going through the wrath of the chief (Rajasimman), who schemes to separate Moorkkan and Bhoomi. Things go as per his plans however when Moorkkan lastly realises he was performed, he seeks revenge. Perhaps, on the core, there’s no novelty with respect to the story of the movie. Starting with Seevalaperi Pandi (1994), many movies over time have had related plots of betrayal and exile. But Kazhuvethi Moorkkan stands aside due to its politics, which provides a cross-sectional view of the connection between caste and politics in Tamil Nadu.

The prime chief of the dominant caste brings each members of the ruling and opposition events to seek out Morkkan. He says, “Be it the ruling party or the opposition, at the end of the day, it should be us at the top.” It displays the situation of the present events–even those that declare to be progressive. The movie additionally brings out the absurdity of fights between the castes. Moorkkan screams, “Neenga oruthan thalaiku mela irukeenga nenachutu irukeenga… neengala oruthan kaaluku kila than nu sollitu thirirainga (You claim to be standing on top of someone’s head… but the ones above you claim you are under their foot).”

Yet, for all of the complexities within the writing, the movie wanted significantly better craftsmanship. Instead, from enhancing to D. Imman’s abysmal background rating, the movie is let down by its technical crew. There’s an absence of seamless circulation with the scenes, and in lots of cases, it turns into fairly shoddy with uneven edits. On prime of that, the background rating is painfully generic and melodramatic. There is not any innovation however template sounds that simply flatly denote the temper of the tune as a substitute of complementing it–the type you see in TV operas. Lastly, Tamil administrators are underneath no compulsion to put in writing romance if they’re unhealthy at it. More so, when the entire affair doesn’t add any worth to the principle plotline. Gauthaman goes out of his solution to make Dushara’s character related to the story, however it solely impedes the screenplay. The intention right here is true, however the execution falters– that applies to the entire film.

Kazhuvethi Moorkkan film director: SY Gowthama Raj

Kazhuvethi Moorkkan film forged: Arulnithi, Dushara, Santhosh Prathap

Kazhuvethi Moorkkan score: 2.5