After having done four intense films, director Mysskin unmasks his seriousness to a simple subject of good triumphing over evil in this UTV production venture Mugamoodi which is touted to be Tamil’s first super hero subject.

The epicenter of Mugamoodi is the love of a young man towards Kung Fu and the master who taught him this martial art form and how he utilizes this skill to woo the girl of his choice.

Smooth narrative marks the 1^st half of Mugamoodi which sets the expectation and curiosity levels for the second half. Although the theme may be old, the turf is new and Mysskin makes the viewing experience an interesting one for most parts. In fact he gives an impression that he has many exciting aces up his sleeve waiting to be spread on the table. However he lets his audience down in the second half which follows a crest and trough pattern with more of troughs than crests. 

For all those Mysskin fans that wait to view his touches, Mugamoodi is replete with them. Like in the middle of an action packed chase sequence, we find a man and woman in a romantic soiree in a dark alley and the introduction shot of hero and heroine from their back side for an extended period of time to name a few. And of course the very ‘Mysskin’esque slow and lengthy shots!

The events that happen when Jiiva goes to convey his love to Pooja on her father’s wedding day in the pre-interval block is suspense filled and have been executed well. There are quite a few twists and turns in Mugamoodi. The scene where Jiiva’s father spills the beans about him in front of Pooja at the mechanic shop brings out the chuckle from the audience.

As usual Jiiva scores well and his dancing skills are really a treat to watch in the Bar Anthem number. He does his action shots also perfectly and overall it is a neat performance from him. And special mention to the stunt choreographer for designing exquisite action sequences with finesse. Pooja Hegde is the typical heroine and is just about ok.

Narain as the stylish villain hits the right notes with his sinistral looks but why does he resort to a theatrical style of dialogue delivery in the 2^nd half? Nasser, Girish Karnad, Selva and other supporting cast have delivered what is needed for the film.  The characterization of the grandfathers and the hunchback needs mention as someone who helps Jiiva pursue his sincere intentions.

Vaaya Moodi Summa Iruda number is interestingly and differently choreographed but somehow misses the realistic touch that was evident in the beginning of the song. As though by some sort of compulsion, the song moves to a foreign location! This could have been avoided to give the visual spunk to the popular number.

Technically Mugamoodi is superior. K’s BGM is as rocker and his scores in the action sequences are outstanding. Cinematographer Sathya brings out Mysskin’s vision on the wide canvas with his lighting and night effect shots. Extraordinary work indeed! The attempt to show Kung Fu in its vibrant form should be lauded. Although the film has many action sequences, Mysskin has abstained from gore which qualifies the film for all ages.

There are quite a few foibles in the second half. The entire coast guard appears to be muted in front of one man Narain, but Girish Karnad et al appear to walk freely inside the enemy’s terrain. Too many characters in the second half and too many blanks to be filled by the audience themselves, the second half emerges tedious. If one expects some kind of super heroic acts from the hero, it does not happen as Jiiva delivers his acts in a costume but with super-heroic intentions. 

Overall, if the pace and narration of the 1^st half was maintained in the 2^nd half too, Mugamoodi would have emerged grander.

Verdict: Pacy first half, slow second half but compensated by the overall performance and effort of the cast & crew.