Uchithanai Mukarnthal – Tamil Movie Review

Star Cast : Sathyaraj, Nasser, Seeman, Sangeetha
Direction : Pugazhenthi Thangaraj
Music : D. Imman

What’s common between Sathyaraj, Seeman and director Pughazhendi Thangaraj? All the three never shy away from voicing for the cause of Tamil Eelam Tamils.

When the trio come together for a movie, obviously it has to speak about the conflicts and atrocities of Sri Lankan army in the neighboring island nation.

The movie harps on the sufferings of a 13 -year-old girl, who was allegedly gang-raped by Sri Lankan military men. Though it speaks about the sufferings of a girl, it throws light on the ways and means adopted by Sri Lankan army to wipe out Tamils.

Pughazhendi Thangaraj had handled a similar theme in Kattrukenna Veli before. But Uchithanai Mukarnthal is more bold and sound.

Professor Natesan (Sathyaraj) voices for the cause of Tamil Eelam Tamils in Chennai. He goes out of the way to help a 13-year-old girl Punithavathay (Neelika), who hails from Batticoloa in Sri Lanka.

She is reportedly gang-raped by Sri Lankan Army on 1 March 2009 and is on the family way because of it. Natesan taking pity on her, brings her to his house illegally and nurses her with the help of a doctor (Lakshmi Ramakrishnan). Natesan’s wife (Sangeetha) too helps him in the mission. The atrocities of Sri Lankan army are brought to light through Punitha’s words. Fate strikes in a different way in their lives.

More a documentary, it chronicles the sufferings of Tamils. The director has sounds loud and used news reports and statements from refugees to make the movie.

Neelika, the bubbly young girl is the apple of the eye in the movie. She breeze walks into the role and gives best performance.

Sathyaraj plays a Pro-Tamil with ease. His emotions and sufferings at seeing the young girl suffer is brought out well. Sangeetha, Seeman, Nasser and Lakshmi Ramakrishnan form part of the cast.

At places, the movie goes little crude. The director carried away by the sufferings of Tamils have tried to capture everything on screen that becomes preachy.

But dialogues comes to his rescue. Kannan’s camera and D Imman’s music go hand-in-hand. However the slow script and a documentary feel could have been avoided.

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