Kumar’s life turns on its head after his abusive father kills his dotting mother. The image of the area was drastically different from Pudhupettai that we saw through rose-tinted glasses in Thirumalai (2003). It is Pudhupettai, a ghetto in North Chennai. As the camera pulls out of his tiny house, we get the picture of his neighbourhood, which is closely packed and heavily populated. Cut to flashback, we see Kumar getting ready for his school. In a way, doing so is cathartic for him as he’s alone, terrified and crumbling under the weight of his guilt. He hopes that someone might listen to his remorse. He deals with deafening silence by narrating his life story on a high-pitch tone echoing off the empty green walls. The movie opens with Kokki Kumar (an impressive Dhanush) languishing in a prison cell in solitude. As simple as that, not complicated at all. He was just being a cold-blooded gangster looking out only for himself. He had no greater good on his mind when he ordered the murders of his biological father and a slew of his other rivals. The protagonist, Kokki Kumar, was a bad man. Here, Selvaraghavan allowed no room for confusion of any sorts. And Pudhupettai called the industry’s bluff by dismantling Tamil cinema’s romanticisation of gangsters.
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