Director: R Vivekanand
Thunai Mudhalvar is set in a imaginary town known as Manjamaakaanoor and it is one of the very few stuff that the film gets right. Because the individuals residing in the position are just that — manjamaakaans (idiots). The town is cut off from the landmass by a stream and because no one designed a link to go across, the position is without facilities like university, medical center and so on (though unusually enough, the houses have satellite tv television!), and so, the individuals here are just illiterate doofuses. We are required to believe that they are so foolish that they will believe that Titanic ship is a brother-sister dilemma like Paasamalar, when Periyapandi (Bhagyaraj), on your own to have analyzed until third conventional, says so! Periyapandi has a relative, Chinnapandi (Jayaram doing his best friend act), whose girlfriend is Rukmani. She is performed by Sandhya, whose profession is constantly on the plumb the absolute depths after her amazing first appearance in Kaadhal.
Periyapandi and Chinnapandi are the inseparables in the position and to make sure that they get a link designed, the individuals choose to choose the former as their MLA. As fortune would have it, the two major governmental events are able to bag equivalent variety of chairs and Periyapandi, who has won as an separate applicant, is courted by both ends. He becomes the deputy primary reverend by providing assistance to one of them, but when he knows that they will not let him do anything excellent for his town, he, along with Chinnapandi, hatches a tale and levels his own loss of life expecting that when a by-election is declared, the governmental figures will fold over in reverse to fulfill the villagers’ every desire and elegant.
There is a fun loving satire somewhere within the assumption of Thunai Mudhalvar but the film making and the storytelling (Bhagyaraj is in-charge of the tale, film script and dialogues) are so outdated that for most areas of the film, we think like we have time journeyed to a not-so-appropriate previous. The whole business seems like some poorly created TV sequential. The whole first 50 percent is invested (read wasted) displaying the shenanigans of the two brings and the villagers and it is nails-on-a-blackboard crazy.
The film comes together only towards the end when Periyapandi chooses to put an end to the dilemma but the fact is exposed before he can level a huge entry, and provides a glance of what could have been possible if these components had been managed by an able film maker, say someone like Chimbudevan.
There is plenty of K Bhagyaraj design of mature humour(?), which are nothing but crass innuendos of the mallipoo-and-halwa type. Nothing demonstrates this better than the depiction (if you can contact it that) Periyapandi’s Malayalee spouse, Thangamani ( Shwetha Menon), who outfits up in mundu and shirt (the digicam just concentrates right on her bosoms) and breastfeeds her five-year-old son (yes, you study it right, the film is qualified U)! That the men of the town (most of them seem to be in the 40-plus category) freely leer at her even in Periyapandi’s existence is something that the film believes is crazy, so you see how ancient it is. And, the personality even does a kuthu (amply displaying her simple midriff) to gather ballots for her spouse. What a win for feminism!
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