The movie begins with Pichaimoorthy (Ram), a barber, being compelled by his spouse, Subathra (Poorna), to accompany her and their two children, to satisfy her brother, Raghu, who has eloped with a lady. They must get the 2 of them married earlier than the woman’s wealthy dad and mom can cease it. However, en route, Pichai will get right into a skirmish with Manga (Mysskin), a gangster who has to go to jail by that night. An enraged Manga swears that he’ll chop off the previous’s limb by sunset. Can Pichai save himself?
There has been a contact of the theatrical in Mysskin’s characters, and in Savarakathi, he takes it up a notch by giving us characters who’re manner excessive. Aadithyaa perceive this and by no means reins in his performers, who provide you with suitably heightened performances that improve the comedian impact within the scenes. Ram convincingly reveals us the haplessness of Pichai (he’s a barber who nonetheless makes use of the knife and as a personality remarks, nonetheless does coiffure like Rayil Payanangalil Shankar) whereas Mysskin portrays Manga as somebody who’s each humorous and terrifying due to how unpredictable he’s. For Poorna, it’s positively her first difficult position in Tamil cinema, and the actress (who has dubbed for herself) is spectacular because the dyspeptic spouse with a listening to impairment.
For a lot of the movie, Aadithyaa retains us laughing with the conditions getting extra absurd because the movie progresses. The tempo is kind of breathless, befitting a movie that’s basically one lengthy chase, and the humour is commonly of the laugh-out-loud selection however at occasions, fairly delicate, like within the scene the place Manga retains gazing a girl who’s carrying, of all issues, a yellow sari! Then, there may be the scatological humour that’s as uninhibited as it may be in a ‘U’-certified movie. One of Manga’s underlings will get bitten in his crotch, Subathra retains referring to her husband as “Oata Kundi”, although the latter phrase is, sadly, beeped out… Not to neglect top-of-the-line strains within the movie, “Enna dhaan rocket vittaalum, kaiyaala dhaan kazhuvanum”!
It is barely within the ultimate jiffy that the tone modifications — and fairly abruptly, at that. It is certainly disorienting, for all this whereas, we now have been requested to chortle at these characters and now, the movie desires us to empathise with them. Having performed out as a black comedy till then, the movie all of a sudden decides that it doesn’t have any additional use for comedy and trades it for pathos. But we do get a few Mysskin touches, just like the one involving a cycle store proprietor and Pichai. And the melodrama — a labour ache, a father embarrassed earlier than his little son — in these scenes, which is heightened by Arrol Corelli’s overwrought rating, feels very a lot a part of the movie’s universe.