Mookuthi Amman Review

Mookuthi Amman is a Tamil language movie which is based on a goddess. The term Mookuthi Amman means Nose-Ring Goddess. This film was launched in the year 2020 on the 14th of November on the occasion of Diwali. It was mainly released on OTT platform Disney + Hotstar. The movie was directed and written by RJ Balaji and this was his debut movie in whi ch he himself was directing along with his co-director N. J. Saravanan. The film stars, Nayanthara and Balaji, with Urvashi, Smruthi Venkat, Madhu Mailankody, Abinaya, Moulee and Ajay Ghosh were in the supporting roles. The story is mainly about exposing a man who treated himself like a god and to execute this plan, the news anchor team up with the title character.

The COVID-19 pandemic forced the postponement of Mookuthi Amman, which was originally set to open in theatres on May 8, 2020. On the evening of November 14, 2020, the day of Diwali, it was announced that the movie would be released direct-to-digital on Disney+ Hotstar. The digital rights to the movie were bought for 20 crores. Ammoru Thalli, which had been dubbed into Telugu, debuted on Star Maa on March 7, 2021, and received an average TRP rating of 6.62. The Malayalam version of the movie had its world premiere on Asianet on April 18, 2021, while the Tamil version of the movie aired on Vijay TV on April 14, 2021.

Mookuthi Amman Movie Details

Mookuthi Amman Review

RJ Balaji plays both the director and the actor in his most recent movie, "Mookuthi Amman." To bring us this comedy-drama, he unites up with fellow rookie NJ Saravanan. Nayanthara's compelling portrayal of the goddess in the trailers contributed significantly to the buzz around the movie.

Engels Ramasamy, a reporter who leads a challenging existence with his mother, Urvashi, and four sisters, is the focus of the narrative (played by RJ Balaji). As the family encounters different difficulties and feels let down by God's kindness, they begin to turn to their deity, Mookuthi Amman. Mookuthi Amman (Nayanthara) unexpectedly shows up before Ramasamy, not only to assist him and his family but also for another reason. The account of Mookuthi Amman's birth, Ramasamy's encounter with the fictitious godman Bhagavati Baba, and the subsequent events are the main subjects of the movie.

A few touching sequences are interspersed with RJ Balaji's typically boisterous and chatty role of Engels Ramasamy. Unfortunately, despite his repeated body language and attempts at humour, the crowd is not amused. The goddess, played by Nayanthara, makes a big entrance in her long cameo. The talented actor Urvashi excels in her part and provides lots of pleasure. Ajay Ghosh, on the other hand, overacts as the bogus godman Bhagavati Baba, depending too much on exaggerated facial gestures and unfunny humour. Good performances are given by Smruthi Venkat and Moulee in their respective roles.

With several amusing scenes with Urvashi, the first half of the movie moves quickly. The instant Nayanthara enters the scene, though, the true momentum begins. Despite RJ Balaji's lacklustre performance, her mere presence is enough to keep the crowd interested. As Ajay Ghosh enters the scene in the second half, the tension rises as the struggle between the god and the godman becomes more intense.

As Ramasamy and his family follow predetermined actions to reveal the godman, the movie, however, adopts a basic and formulaic approach in the second half. Ramasamy and Bhagavati Baba were anticipated to engage in a more forceful conflict, therefore this is a squandered opportunity. RJ Balaji finishes his picture with a strong and timely social message, advising everyone to be content with what they have, despite the film's convoluted path to its message.

With the exception of "Aadi Kuthu" by LR Eswari, none of the songs in the movie are memorable, and the overly loud background music does little to improve the scenes. Dinesh Krishnan's cinematography masterfully depicts RJ Balaji's family's daily routine and draws attention to Nayanthara's presence. The songs and a few particularly lengthy sequences slow down the overall pacing, so Selva's editing could have been more effective.

RJ Balaji and NJ Saravanan, two up-and-coming filmmakers, take on the issue of fake godmen and emphasise how crucial it is to have faith in gods rather than godmen in order to live happy lives. In the film's lighthearted opening, Balaji introduces Ramasamy's family, and Urvashi lends her usual comedic touch with her performance and body language. With her stunning entrance and impressive acting abilities, Nayanthara captivates the audience. The movie loses its edge and turns into a straightforward story after the main plot is established. The strategies employed by Balaji and his family to reveal the godman and bring about the divine climax are banal and ineffective, and they have little lasting power. The message's overall effectiveness suffers from this predictability and monotony.

Balaji appears to have wanted to portray a humorous take on fake godmen with a hint of divinity. The humour, however, frequently falls flat, and Nayanthara's part comes off more as a cameo because neither the protagonist nor the script receive any real support. Moving forward, Balaji's films should focus more on enhancing the comedic elements.

Conclusion

Overall, "Mookuthi Amman" is a morally upright comedy with a social message. With a stronger story and more interesting scenes, it might have been even better. The film is approachable to a broad audience thanks to its clear narrative and simple English. While Nayanthara's grace and acting talent are on full display, RJ Balaji's animated portrayal of Engels Ramasamy and Urvashi's entertaining presence add some enjoyable moments. The movie's flaws are its predictable plot development and poor handling of the conflict between the protagonist and the godman. But it succeeds in getting across a crucial point about finding fulfilment in life. RJ Balaji has the potential to make impactful films in the future with humour improvements and improved storytelling.