A small-time criminal falls in love with the daughter of the local bigwig, who is also his master. When the girl asks him to marry her in front of her clan, the guy is almost killed. But when he recovers, he decides to get her hand at any cost...
If one has to go by
, we have to consider that the 'Madurai film', that sub-genre of films set in the hinterlands of Madurai with a lungi-clad scruff hero, vicious powerful villain, intrepid heroine, a hint of local culture (this film, actually, does away with this through a song in the beginning) and an undercurrent of violence, has become saturated. The film isn't boring per se, but we don't feel any excitement in the proceedings because its beats are very familiar and also because there are echoes of other films from this genre.
The story revolves around Bala aka Mosakkutti, who earns his livelihood by smuggling goods from lorries travelling on a highway. He sells the goods to the Virumandi, the local bigwig and a middle-man for smuggled goods. When the local cop, who is keen on nailing Virumandi, tries to get him by taking his daughter Kayalvizhi to the station, Mosakkutti foils it and this makes the girl profess her love for him before the entire village. An enraged Virumandi packs off Kayal to his brother Kasi's place in Kerala. He also hires people to murder Mosakkutti but the guy survives and decides to go to Kerala and marry Kayal. But Kasi is a respected and feared man in his hill station and getting the girl might not be easy...
If you have seen a handful of 'Madurai films' (at least the better ones), then,
will feel like a pale retread. Mosakkutti is a ruffian with a heart of gold like Paruthiveeran and his profession is the same as Tarpaulin Murugan from
, Kayalvizhi is a tamer Mynaa, while Virumandi and Kasi are lesser versions of the brothers in
. The film is produced by Prabusolomon and we get another nod to
as well in the form of an accident and rescue on a mountain road.
These can at least be brushed aside as genre constructs but the problem with
is that the director introduces one interesting angle only to drop it and move on to the next that is frustrating. We think Mosakkutti's profession might play a key role in the plot but this never happens. So, when the local cop faces off with Virumandi, we think their clash might be the story and Mosakkutti might become collateral damage, but the director abandons this sub-plot and gives us another, which is, Virumandi trying to eliminate Mosakkutti for falling in love with his daughter. Then, this character is brushed aside completely and we are asked to consider Kasi as the antagonist.
Still, the suspense in whether Kasi realizes that his new driver Ganesan is actually Mosakkutti, could have given the narrative the tension that it required (there is even a character who comes to know of the truth but cannot tell it to Kasi) but these scenes are just indifferently handled and there are hardly any worthy challenges for the hero. He easily gets into Kasi's house, he easily gets in touch with Kayal, and he easily manages an escape, in the most ludicrous manner — the lovers jump from a mountain top trying to flee from Kasi's henchmen and hit ground with barely a scratch!