In Kathar Basha Endra Muthuramalingam, Muthaiah emphasises the idea of a struggle for land and women, establishing the scene for a rural action movie from the outset. As a result of the protagonist and antagonists competing for a woman's love in the first half of the novel, there are too many conflicts in the second half. The basic premise is ok, but as the movie goes on, the narrative gets more complicated and boring. It turns out to be a mediocre action movie with nothing particularly noteworthy to offer.
The first thing I noticed about this movie was how it made an effort to stand apart by promising to explore innovative ideas within the aforementioned parameters. Consider how, at first, he draughts the Siddhi Idnani persona Thamizhselvi. Unlike Muthaiya's previous films, where women blindly let parents decide their life, Thamizhselvi stands up for herself when the people of her town force her to marry one of the two morapayyans, sons of two influential men (Madhusudhana Rao and B.S. Avinash) of Naduvapatti; their only wish to marry her to swindle all the properties that were bestowed by her brother (the husband of Madhusudhan's daughter).
You start to hope that this time Muthaiya would treat his female protagonist as an individual with desires, intellect, and a personality of her own when she states that only she will pick who she gets to marry. Thamizh discusses her wish to marry Kathar Basha, an unconventional Arya whose chirpiness—like Karthi's in Viruman—is the lone bright spot—after squandering time with multiple laugh-free scenes. All hope is lost when we learn that she only falls in love since it was her late uncle's (Bhagyaraj, who in this instance takes on the role of Samuthirakani of Pulikkuthi Pandi) final request. You subsequently learn that in a world where the hero, when given the opportunity to select his own bride,"Let my mother make the decision because she will spend more time with her than I will," it says. And allow me to spare you the lengthy explanations of who is related to whom and what is revealed where following some poorly staged battles and uninteresting tunes.
The opening scenes of Kathar Basha Engira Muthuramalingam are intriguing and arouse our interest in the protagonist's life. But after 15 minutes, it's clear that the story follows the tried-and-true formula of rural action flicks, where people seek vengeance for their own tragedies. Even though this is a frequent theme in many films, Muthaiah might have improved the screenplay by presenting several story aspects in a more believable way. The film's excessive use of flashbacks, storylines, antagonists, and conflicts makes it harder for viewers to relate to the losses that the good characters in it experience. The second part of the movie contains a few excellently written scenes, although they only appear near the very end.
Unfortunately, the resolution is foreshadowed, with the hero easily disposing of all the antagonists. Muthaiah makes an admirable effort in the movie's second half to address religious equality through Prabhu's persona. The execution, however, lacks balance and implies that adherents of other religions in the same community are converts. In addition, Siddhi Idnani's persona is originally shown as a forward-thinking and brave woman in the community, but as the movie goes on, such qualities are less apparent. The author overlooks a chance to expand on this issue, which may have improved the quality of the writing.
Arya gives the movie his all, and his performance is tolerably compelling. His portrayal of a conceited young man is convincing. Sadly, the music and other technical elements fall short of raising the drama of the sequences. A few songs also slow down the movie's progress.
In the end, Kathar Basha Engira Muthuramalingam offers nothing novel and ultimately comes off as Muthaiah's standard offering.
At the moment, Kathar Basha Endra Muthuramalingam is playing in theatres.
