Gatta Kusthi Synopsis
The movie can be compared to a 90s country comedy with modern Tamil cinema’s political correctness.
A fun, forward-thinking, 1990s-era rural comedy, Gatta Kusthi is reviewed in this article.
Unknowingly, a foolish guy who intended to marry a timid, submissive wife marries a brave wrestler. What transpires when he discovers the reality about his recently wed wife?
Gatta Kusthi Movie Review:
Chella Ayyavu’s Gatta Kusthi has a significant resemblance to commercial movies from the 1990s (see Murai Maaman or Maaman Magal). It begins with clichés we’ve seen in movies from that era and then pleasantly surprises us by defying the majority of them in a novel and enjoyable way. One of the locations for this narrative is the Pollachi villages, which were formerly the setting for such movies. The movie can be compared to a 90s country comedy with modern Tamil cinema’s political correctness.
The story opens with Keerthi’s family struggling to find a partner for her since she is a brave and fierce gatta kusthi champion in Palakkad (Aishwarya Lekshmi). In the meantime, Veera (Vishnu Vishal), a carefree man, is looking for a bride who is shy, uneducated, and has long hair in the hopes that she will remain subordinate to him. The two end up being married thanks to Keerthi’s chithapa (Munishkanth), with Veera being ignorant that his bride is a kusthi champion, is more educated than he is, and has short hair. How long can Keerthi keep up the act, and what will happen when Veera learns the truth?
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Gatta Kusthi’s awareness of its traditional approach to a formulaic storyline is one of its greatest qualities. Chella Ayyavu populates this realm with tropes that have been used before in similar movies. The protagonist is a member of the landed aristocracy who can afford to take time off from work to ride his Bullet, get into useless altercations, and party the night away with his group of boomer uncles (in place of Goundamani, we have Karunas here). There is the mother of the hero, who is plainly a bad influence despite her good intentions. We get a bad guy who parades about with his goons. We have a first-night scenario that is a complete relic from earlier times.
Even the pouring of a slug of booze into a delicate coconut appears to be a tribute to Maaman Magal.
However, the theme of women’s emancipation, which begins with the heroine’s characterization, gives this story a modern twist. Keerthi (Aishwarya Lekshmi, making the most of her first true commercial movie heroine role) receives numerous moments that are often designated for the hero in our films, starting with one of the year’s most whistle-worthy mass interval blocks.
However, in the second half, the attention shifts to Veera (Vishnu Vishal, who playfully plays the “dummy piece” and allows himself to become the butt of jokes), who realizes his error in judgment and is given the opportunity to display his courage. Thankfully, Chella Ayyavu utilizes these scenes to discuss female discrimination in our culture rather than glorifying the hero’s recovery (apart from an overly drawn-out, somewhat meaningless kusthi sequence in the conclusion). His effectiveness lies in the fact that he accomplishes this without preaching and instead uses jokes and pointed phrases (India-la mattum family kooda fight pannitu aprom dhaan ponnunga opposite team players-a battle pannanum).
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