A quinquagenarian locks horns with a raucous lawmaker who tries to turn into an MLA. After a point, the previous understands that he has certain impediments in battling against the last mentioned. Will he surrender or keep on battling for equity?
India’s middle class responding to the system is a concept bordering on the imagination. The middle class in India doesn’t even have several police inspectors near them. Scroll through their contacts, and it’s nearly impossible to see anyone with influence on this list. So if you see heroes from your background as your own, taking over the police, politicians, bureaucracy, red tape, and so on, it works like a kind of catharsis. It doesn’t urge them to answer precisely.
It gives them hope that someone else can:
Mathils Lakshmikanthan (the towering KS Ravikumar) is an integral part of this Indian middle class. It took him 40 years to buy a plot of land and build his own house. This dream of owning a house arises from a traumatic event in his childhood. Mathil’s apt title happens when a political party takes over one of the walls of Lakshmikanthan’s house for his political graffiti. Middle class, very confident, very regressive, but very conscientious, Lakshmikantan retaliated.
The battle between Lakshmikantan and Senatipati (Mim Gopi) looks interesting on paper:
Especially the power and the play of the helpless ropes moving over the walls. But the fight for points becomes desperate and unimaginative. While Lakshmikantan, who performed well as a writer and actor for a theater company and attracted members of his troupe to repay insults, was mainly in the Poi Solla Porom area, the scenes were too theatrical. There is also a feeling of déjà vu when KS Ravikumar confronts Mime Gopi, who, after Madras, becomes obsessed again with the wall and the photo on it. As the film crosses scenes with humor bordering on anger and enters the revenge zone, it becomes even more enjoyable. However, our interests still fluctuate because conflict resolution is an easy cliché or just too ridiculous.
Mitran Javahar’s greatest strength is KS Ravikumar, who is starting to settle as a presenter in his first film. Take, for example, the scene where an embarrassing curse is thrown at him, and the Senate beats him. Lakshmikantan’s sharp gaze and confident demeanor emerged shortly after the hit, and Ravikumar quickly overcame both extremes. Her reliable performance is what puts us at the root of her victory, even as producers write in one uninspired retreat for the sake of another. Plus, it’s time to do the “social media viral sensation” trick.
Mathil’s central theme is attractive – the restoration of personal space.
At the end of the film’s press release, director Mitran Javahar said he would be happy if the film made at least one real Lakshmiktan feel like they weren’t fighting for his place. Although I agree with the mood, climbing the wall doesn’t help Matil when his heart is in the right place.
The role of the rebel politician is to walk the park for Gopi as she has played similar roles before. The conflict between the two characters is interesting at first but disappears as the story progresses.
The protagonist on social media, highlighting his problems and starring in the audience for one night, was sentenced to death. Some of the scenes with Kathadi Ramamoorthy, Swaminathan, and Madhumitha invite laughter. But not as much fun as one might expect. The film also left a message for viewers that was only partially effective. Apart from the main character and the antagonist, the characters are not very developed. Which is why the audience cannot connect with them emotionally. Mathil is an excellent film with some exciting scenes that explain social problems less than two hours long.
