Arulnithi portrays a young man who is irate in a completely realistic manner, giving his persona legitimacy. Santhosh Pratap gives a standout performance as an altruist who fights for education in a community with economic disadvantages. Following Sarpatta and Natchathiram Nagargiradhu, Dushara Vijayan adds yet another great part to her resume. Additionally, actors like Chayadevi, Munishkanth, and Subramanian make noteworthy contributions.
The film's technical qualities are respectable and aid the story well. The background music by D Imman intensifies a range of feelings. The early part of the movie could have done without one song, though, as it drags out the story. Overall, Kazhuvethi Moorkkan's strong script succeeds in holding our attention to a significant degree.
Two opposing groups' members coexist peacefully in a community that is home to them. The friendship between the protagonist and his closest buddy, who is from the neighbouring settlements of "meltheru" and "keezhtheru," is a symbol of the friendliness between the two groups. Politicians devise plans to divide the populace in order to get access and control. This causes clashes that can cause a gap in their friendship or result in the loss of innocent lives. This is the plot of the recently released movie Raavana Kottam, which stars Shanthnu. Surprisingly, SY Gowthama Raj, who made his directorial debut with the underappreciated Raatchasi, used this as the foundation for Arulnithi's most recent film, Kazhuvethi Moorkkan.
The story centres on Moorkkasamy (Arulnithi) and Boomi (Santhosh Pratap), two close friends. Despite the fact that the former is from a dominant caste and the latter is from a caste that is under oppression, their relationship is strong and transcends caste boundaries. Boomi is a reformer with high ideas and a social conscience, in contrast to Moorkkan, who is merely a brash villager protective of his pal. The two fall victim to the political plot against them based on caste. The friend who is suspected of killing the other is one of the two. The key issue in the remaining narrative is whether the survivor was successful in learning the truth and obtaining justice.
First and foremost, Kazhuvethi Moorkkan excels in casting. Numerous performers, including Arulnithi, Santhosh Pratap, Munishkanth, and others, have demonstrated their prowess. The creator did a good job in depicting the caste system. Although the plot took a long time to develop, the film's background and conflict were strong. The tale didn't benefit from the extravagant buildups or the romance thread involving Dushara Vijayan.
Throughout the entire film, we were given engaging characters and dialogue (Santhosh Prathap, Munishkanth, and police officials). In addition, Kazhuvethi Moorkkan sneers at outdated notions and vehemently denounces harmful behaviours. The tunes and accompanying music by D Imman were excellent yet occasionally felt excessive. The editing and action choreography occasionally clicked.
Despite the writing's complexity, the picture required far greater workmanship. Instead, the technical team of the movie fails miserably, from editing to D. Imman's terrible background music. The scenes don't flow together well, and the editing is frequently rough and quite bad. Additionally, the background music is excruciatingly melodramatic and generic. There is no originality; only template sounds, like those in TV operas, that simply convey the mood of the song without adding to it. Finally, Tamil filmmakers are not required to script romance if they lack the necessary skills. Even more so when the entire incident doesn't advance the major narrative. Even though Gauthaman goes out of his way to make Dushara's character important to the plot, the script is hampered as a result. Although the goal in this case is sound, the execution falls short throughout the whole film.
