Gatta Kusthi Review: Keerthy is very passionate about wrestling

Keerthy (Aishwarya Lakshmi) from Balaghat, Kerala is passionate about wrestling matches. Keerthi has been celibate for a long time, participating in various competitions and winning trophies since childhood. Being a wrestler keeps her suitors away. After a stage Keerthy and Veera (Vishnu Vishal) from Tamilnadu are married by telling some lies. When lies come to light in a smooth married life and cause an earthquake, 'Gatta Kusthi' is a fight that intrudes and wrestles between couples' lives.

Aishwarya Lakshmi, who chooses the stories that are important to her, is uncompromising in a similar story this time as a wrestler. Cutting the graff, draping the saree and balling her opponents, she excels in her double-edged performance in wrestling matches, aggressive gaze, sportswoman look, and village girl.

'Let the educated be empowered... the uneducated will be subjugated', 'She is not a girl if she doesn't have long hair; Vishnu Vishal in the role of a village boy who speaks conservative lines like 'boy'. He scores by performing in the places he gets. Karunas, who is portrayed as the epitome of patriarchy, gives an excellent performance. Apart from this, the supporting characters of Muniskanth, Kalivenkat, Harish Baredi are the strength of the story. Redin Kinks Lee makes a mark with his own style of making people laugh.

Cella Ayyavu, who directed 'Silkuwarpatti Singham', has teamed up with Vishnu Vishal again with this film. A song for the hero's introduction, a song for the wedding, a villain for the locality, a villain for the foreigner, enemies who bounce as fast as they reach out their hand, they have made Masala in consideration of the release of the film in Telugu.

The first half of the film, which focuses on the husband-wife relationship, picks up pace to appeal to a wide audience. 'Gatta Kusthi' scores in the first round as the heroine struggles to cope with the lie she told for marriage, the hero's actions to slander his wife, and jaw-dropping interludes.

After a point in the second half, the predictable, clichéd scenes come to a screeching halt. Scenes with logical fallacies and disjointed sentiment pull us away from the screen.

Also, the dialogue throughout the film about women is the height of absurdity. The central reason of the film is that it is about regressiveness, men repeatedly make class about women, it is a shame if you submit to a woman, men should not be submissive after marriage.

Climaxing it in the name of speaking for women through two or three verses, it doesn't work with verses that are leveled in the middle for formality. Most of the scenes and dialogues of the film do not feel like they are taking you back to the 90s era cinema.

Similarly, the film does not do any justice to the film's title 'Gatta Kusthi' but only in name.

Justin Prabhakaran's background score could be felt in some scenes as the need for more was needed. Cinematographer Richard M. Nathan is perfect in the scenery required for populist cinema.

Overall this 'Gatta Kusthi' contains reactionary ideas with features for mass cinema lovers.