Starring Jeeva and Sri Divya with a pillaring role played by Parthiban, ‘Maaveeran Kittu’ is a film that speaks about the plight of people discriminated based their caste.
The film starts off with a bang making its subject very clear to the audience which even a message-oriented opening song wouldn’t have delivered. The biggest plus is that Maaveeran Kittu has nothing commercialized. It’s totally true, practical and subtle in what it has to say and that makes the quality quotient big.
Maaveeran Kittu throws light on how people stamped as low caste, in the late 80s, have been deprived of rights and subjected to difficulties by depriving them of basic necessities just to keep them away from uplifting and enlightening themselves through education.
No commercial aspects but still the film is watchable throughout means director Suseenthiran has scripted an engaging screenplay.
Parthiban has done a commendable role as the respected leader of the discriminated people who leads the fight against their oppressors. Harish Uthaman is the baddest among the baddies who find reasons to establish the dominance over the discriminated lot.
Vishnu, the leading man of the film, has done a decent job as the shining star and an inspirer for the discriminated people. The film doesn’t throw any hint of his heroics till the climax leaving audience with hope to watch the film till the end credits. Sri Divya scores with her emoting skills and plays a perfect village fiddle.
However, the absence of powerful scenes in the middle and in the beginning could have deprived the film from delivering a punch that leaves the audience amazed. Otherwise everything else is appreciation worthy.
Imman is the second biggest contributor next to Parthiban. His background score keeps the tension and seriousness on the high, especially in the scenes where Parthiban and Harish Uthaman meet. The musician has rendered breezy background for the romantic portions as well but the song which bears the anchoring tune has gone missing which is a disappointment for the fans who were expecting it.
You get to see realistic shots but not at the expense of clarity, thanks to cinematographer Soorya AR and editor Kasi Vishwanathan’s cuts make the presentation neat.
Art director Rajeevan’s focus on set properties makes sure the film is genuinely accepted as a period film from the late 80s and the costume designer complement the art director’s effort bringing in some cool retro stuff as costumes for the actors.
Verdict: A sound subject presented in a crisp and clear way with no commercial masala.