Irandam Ulagaporin Kadaisi Gundu Movie Review: In Irandam Ulagaporin Kadaisi Gundu (IUKG), class and caste make for harmful bedfellows and show to be a double whammy for its protagonist, Selvam (Dinesh). He is a lorry driver who works at a scrap steel yard. The yard’s acerbic proprietor, Baasha (Marimuthu), has nothing however contempt for his workmen. He is the type who will want his injured workmen are taken to a authorities hospital and never a non-public one. Selvam is considering leaving the place, and Baasha calling him a thief solely will increase his resolve, however for that, he wants cash to purchase the lorry that he drives.
Still that wouldn’t be sufficient for his lover, Chitra (Anandhi), a trainer. She retains asking him to search for a distinct job than that of a driver, for which he retorts by saying that it isn’t inferior to another job. But for Chitra’s casteist household, he’s simply grime that she shouldn’t affiliate with. And they wouldn’t even suppose twice about murdering her for bringing dishonour to the household.
It is in such circumstances that Selvam finally ends up transporting a load of scrap, through which occurs to be an unexploded bomb that wasn’t correctly disposed on the finish of World War II. The native cop (Lijeesh) has been ordered to trace this bomb down, with an arms seller (John Vijay) overseeing this operation. “Either find it or denote it,” is the order laid out to them. And they’ve to do that earlier than it leads to the arms of Tanya (Riythvika), an anti-war activist, who desires to reveal the Rs 2,000-crore rip-off behind the disposal of those bombs and guarantee compensation for victims.
IUKG wears its coronary heart on its sleeve. The manner director Athiyan Athirai offers this story of a person a world perspective is fascinating. In a manner, it’s a propaganda movie disguised as a highway film. In a prologue, we see a steel scrap yard, similar to the one which Selvam works in, getting demolished after an unexploded bomb blasts there. This scene additionally helps set a ticking-clock thriller vibe to this movie as soon as Selvam begins to move the bomb.
And Athiyan offers us the backstory concerning the bombs — how greed ensured that they had been carelessly disposed into the ocean. The documentary-like footage solely provides to the propaganda impact. But the movie is proud to be one, for what it advocates is peace and empowerment. Athiyan additionally makes use of people artwork and animation at later levels to drive residence the purpose. While this strategy may really feel in your face in most movies, right here, they appear apt.
For, like its protagonist, it is a loud movie, by design. The music (by Tenma) and sound design (Antony BJ Ruban) is loud and cacophonous, dominated by the sounds of steel and sirens. And visually, Athirai makes use of nimble camerawork (the cinematography is by Kishore Kumar) and speedy cuts (Selva RK is the editor) to make it much more unsettling
There are tough edges, too. The romantic monitor seems like one other model of Pariyerum Perumal, one other Pa Ranjith manufacturing. But how can a movie from Ranjith not discuss caste? A stunt scene, the place Selvam turns right into a larger-than-life hero feels pointless and even misplaced. After all, Selvam isn’t Dilli, the lorry driver protagonist of Kaithi.
Dinesh is stable because the considerably short-tempered lorry driver who can’t assist however protest in opposition to injustice. He nonetheless has a little bit of the Cuckoo hangover in his eyes, however he makes up for it along with his bulked-up physique and barely raspy dialogue supply, although the latter, additionally leads to some traces flying over our heads due to the velocity through which he speaks them. Anandhi will get a powerful character, full with a heroic second, and the actress is sufficient.
However, the movie’s greatest arc is reserved for Munishkanth, who performs Puncture, Selvam’s co-worker. He begins off as a comic book sidekick, a bootlicker who accompanies Selvam on the orders of Baasha, who guarantees to advertise him as a driver if he finds proof of Selvam’s thievery. But progressively, this character wakes as much as actuality, and even helps Selvam and Tanya at nice private value. And all by way of this transformation, Athiyan manages to retain the naivety that this character possesses. And Munishkanth superbly performs this position, by no means making innocence of the character really feel juvenile. You can’t assist however snort in a scene when he confidently says, “Namma naattu gundu nammala kolladhu.”