However, we are forced to look past generic happenings for two-thirds of the film, just for that one twist. In Pulikuthi Pandi, Singampuli, Dheena and Cook with Comali-fame Bala seem to follow a similar line, but their surprising changeover towards the end of the film almost makes up for the inept humour.Īt the heart of Pulikuthi Pandi is a simple and effective one-liner with a shocking final reveal. There’s also a point to make about the downright pedestrian humour in some of these films. Here, we see Vikram Prabhu in the jaggery-making business. Where else can you see villagers and small towners not being typecast as farmers or ruffians? In Namma Veetu Pillai, we saw Sivakarthikeyan own an oil factory. Trust filmmakers like Muthaiah to use their films to showcase the lives of people in rural areas to a larger audience. Pandiįinishes off all his punch dialogues - “Nallavana adichu pazhakkam illa… nallavanukkaaga adichu dhaan pazhakkam” or “Police thappu panna podhumakkal adippaanga la… adippom… adipen…” - in just 15-20 minutes, only to turn into a sober hero straight out of a Vikraman film. Such subversions are galore in Pulikuthi Pandi, which introduces the hero in the most stereotypical of places - the sarakku kadai - only to have him sing a song about the ill-effects of alcohol. Although his steely presence just adds to the runtime, he is an interesting addition to the MCU, which operated on a completely different tenet all these years. Like all good things, he too has an untimely end. He plays a comrade who sings about oppression, raises a voice for the voiceless, opposes police brutality, and is completely selfless to the point of infuriating his family. Somewhere between all this war and peace, we have Tamil Cinema’s very own conscience keeper Samuthirakani in a cameo. But then, the inevitable (and something else) happens that changes everything. Pandi, who by now has quit his ruffian ways for Pechi, steps in to resolve things peacefully. Pechi’s family has a bunch of wastrels who are caught up with some ruthless money lenders lead by Sannasi and sons (Vela Ramamoorthy, RK Suresh, Aruldoss, etc). but alas! The central conceit is very simple. Incidentally, this film could have been the first time an MCU film was named after the leading lady. On the opposite end, we have MCU regular Lakshmi Menon returning to Tamil cinema after a four-year break as Pechi. Pandi (an earnest Vikram Prabhu) is a Muthiah hero through and through - right from the shabby beard to the twirled moustache to the lungi tied above thigh level. Now, in the Muthiah Cinematic Universe (MCU), this YR could be named Kutti Puli, Kombaiah Pandian, Marudhu, Kodi Veeran or… in this case, Pulikuthi Pandi. In between all this, one of the recipients of YR’s short temper vows revenge against him.Īlso, YR’s prospective in-laws would have an agenda of their own. And of course, it is love at first sight, or at least after she witnesses his first fight. One fine day, YR meets a woman who is headstrong and independent. He has his trusted aides, usually a loudmouth uncle/cousin and a faithful coterie of friends. He goes around beating fellow YRs whose hearts aren’t as golden as his. Director M Muthiah’s films are essentially the same, and they all begin with: Once upon a time in a village in Tamil Nadu, there lived a young ruffian (YR) with a heart of gold.
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