Nayanthara and RJ Balaji Star In A Misfire About Our Relationship with Religion

Administrators: RJ Mirchi and NJ Saravanan

Solid: Nayanthara, Urvashi, RJ Balaji

Mookuthi Amman begins with an surprising little bit of lyricism, in a voiceover about how we all know if God is pleased with us, or how we all know if God is offended with us. The strains contain pongal and cashew nuts, rain and schooldays – I assumed RJ Balaji, who has directed this movie with NJ Saravanan, was venturing right into a course very completely different from the place he went along with his final outing, the blockbuster satire LKG. A card in the beginning quotes quite a lot of inspirations: “Bruce Almighty, Bedazzled, Groundhog Day, Wild Wild Nation, The Story of God with Morgan Freeman, The Invention of Mendacity, Dogma, Oh My God, The Model New Testomony, and the filmography of administrators Shankar and Rajkumar Hirani.” Possibly Balaji has put all these motion pictures in a mixie and give you a model new formulation!

Then once more, perhaps not. Balaji performs a Nagercoil-based TV reporter who’s been after a fake-god-man story for years. However we get to this individual (performed by Ajay Ghosh) solely after an hour. Within the meantime, we spend lots of time with Engels Ramasamy (that’s the Balaji character), his three sisters, and his mom (Urvashi). There are trademark phrases that made me chuckle: “paran mela pricey jewels?”, or “I’m your neighbour Shiva from Belgium!” However the story decides to get severe. The lyrical strains about God that opened the movie are actually closely literalised with super-obvious scenes about how grasping we’re, or how we take girls who do home tasks without any consideration. Slowly, the lightness within the movie leaks away.

This isn’t, technically, a “fault”. If Balaji needs to write down a severe movie about us and God, then that’s his prerogative. However the tonal shifts are in every single place, and Mookuthi Amman (stated goddess is performed by a magnificent-looking Nayanthara, in an prolonged cameo) by no means finds its footing. The villain is such a cliché that not a single joke round him works, and he’s an excessive amount of of a cartoon to take critically. There are some terrific concepts, just like the amman (whose temple is small and hardly visited) being jealous of Tirupathi in the best way we’d envy a neighbour’s greater home and automobile. I beloved the thought of the goddess as a “mass” hero(ine), preventing a “mass” struggle. However there’s far an excessive amount of “well-meaning” recommendation within the script. Certainly, have a look at that “impressed by” card once more, and also you realise that is what it might be like if Shankar and Rajkumar Hirani co-directed a movie. Balaji promised us a “saami padam“. He’s given us a Samuthirakani padam.

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