Moodar Koodam Movie Review

The most hilarious scene in Moodar Koodam comes around the midway mark when a chit fund owner, who is being held captive by four thieves, makes a call on the sly to his subordinate, hoping to alert him to the fact that he is being held under house arrest. But the call is picked up by the guy’s little daughter who is more interested in asking him for an icecream. She then starts listing out eatable after eatable that she wants and, in the end, the frustrated businessman has no option but to end the call. The absurd level in which this scene plays out gives you an idea of what the film wants to be.

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A farce that wants to highlight the absurdity of life through characters who are pushed into a corner, Moodar Koodam revolves around Naveen (Naveen), Vellasamy (Rajaj), Sentrayan (Sentrayan), and Kuberan (Kuberan), who are the nobodies of the society, brought together by a quirk of fate. They decide to get rich and change their own fates by stealing from the house of Vellasamy’s uncle (Jayaprakash), the chit fund owner. What they do not know is that the uncle is planning to flee the country with his family after his company goes bankrupt. Naturally, the robbery plan of the four youngsters turns into a bizarre episode with characters who are even more absurd.

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Moodar Koodam plays very much like a cross between this year’s two other black comedies — Soodhu Kavvum and Neram. If it was a kidnapping (or should we say ‘kednapping’) gone wrong in Soodhu Kavvum, here, it is a robbery that turns ridiculous. And, just as in Neram, the climax involves two gangs going after the protagonists but ending up clashing with one another. But this is not to say that the film is inspired by these two films. Rather, it is interesting how these new-age directors’ filmmaking is influenced by world cinema while still being rooted to local values. Naturally, there are pointed dialogues on Tamils speaking in English and the inequality in the society, but there are also snappy visuals. Naveen, especially in the beginning, borrows the hyper-kinetic editing style of Edgar Wright, showing a series of actions in a matter of seconds with quick cuts.
But what this film lacks is the attitude of those two films. While those two were brimming with energy and had a cheeky take on things, here the blackness of the humour is uncomfortably a little in-your-face. And, that sense of urgency and excitement involved in a robbery is missing. In fact, as the plot moves to the chit fund owner’s house, the film starts resembling a stage play with the action mostly restricted to one room and characters entering and leaving that room. The performances too feel a little too conscious while the pace slackens as the film goes on. The idea of providing a back story for each of the four characters (and a doll and a dog), which seems a novelty initially becomes tiring towards the end. But the sharp dialogues (Innoruthan eludhinadha pannite irukka naama enna computer programme-a?) and the humour do make you forget these niggles to an extent.

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