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Muthaiah has a good head for plot, but his screenwriting – the way he fleshes out these plot points – is like what you’d find in a TV serial. (The setting is Sivagangai.) The comedy is generic, with the hero’s uncle falling into a pile of dung and someone commenting, “ Idhu dhaan nejamana sanitiser.” The screenwriting, such as it is, is generic, too: the hero-intro song is followed immediately by an action sequence, and the heroine-intro occurs soon after. The hero-intro is generic, with Pandi (Vikram Prabhu) singing “ Venaam madhu pazhakkam ” in a local drinking establishment. But Pulikkuthi Pandi takes too long to get there, and we are left with a most generic film for about an hour and a half. Had this been the tone throughout, we’d have had a solid twist on the Thevar Magan thesis: that however much we try to resist violence, it is all around us and it will slowly pull us into its vicious circle and bathe us with bloodlust. ” Blood flows in this film like milk on the cut-outs of big stars during FDFS shows. The son tells the father: “Periya Karuppu koil-la aada nee vettu, avala naan vettaren. The ruthless villain (Sannasi, played by Vela Ramamurthy) and his ruthless son (Saravedi, played by RK Suresh) are established in a ruthless stretch where a woman is decapitated.
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Pulikkuthi Pandi, though, springs a small surprise. You know you are going to get a Komban, a Kutti Puli, a Marudhu : a crude mix of action and romance and comedy and sentiment. The two directors may exist at the opposite ends of the artistry continuum, but you know exactly what you’re going to get.
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“A film by M Muthaiah” carries the same cachet as, say, “a film by Quentin Tarantino”.