Motta Shiva Ketta Shiva
Motta Shiva Ketta Shiva: Where the Hero Becomes the Villain
Movie Review by Trijai Nerthi (Rocheston Certified Movie Critic)
Harvey Dent once said, “You either die a hero or you live long enough to see yourself become the villain.” Sadly, that’s the case with Siva (Raghava Lawrence) in the film Motta Shiva Ketta Shiva. Despite director Sai Ramani portraying Shiva as facing a homecoming of his soul and feeling remorse, his underlying outlook towards women remains demeaning. In fact, this particular outlook isn’t even viewed as a problem. It is for this reason that the film is categorized as C-Grade entertainment. Given the lines it crosses; it probably shouldn’t even exist.
As one searches increasingly harder for signs of an original plot, you are met by one horrendous song after another. Once the songs have exhausted you, lines of over-the-top hero worship promise to push your tolerance to the limits. Just like Singam 3, Motta Shiva Ketta Shiva has a villain who has never set foot in a police station. It also has Shiva playing a lousy version of Robin Hood. The director compounds his use of clichés by incorporating shades of Vikram’s bad cop characteristics from the film Saamy.
Every now and then director Sai Ramani introduces new characters whose sole purpose is to induce sympathy amongst members of the audience. Introducing hearing and speech impaired children when their characters aren’t responsibly handled is a terrible mistake. As if the objectification of Nikki Galrani as a stereotypically beautiful woman with no brains isn’t enough, Ramani uses cheap antics to objectify the deaf and mute community purely for the purpose of bringing tears to the audience’s eyes.
To make up for the corrupt tendencies of his central character in the first half of the film, Director Sai Ramani has him come clean in the second half. The problem is, only he thinks he can come clean. In reality, his outlook towards women is extremely flawed. At this point, one cannot help but wonder which is worse – not addressing chauvinism or being ignorant of it? Sadly, audiences are left with one of two choices – choose a villain who forces his rape victim to marry him or a hero whose underlying misogyny makes him stalk and fat shame people.
At present, many youngsters look up to Raghava Lawrence. For this reason, he has to be more responsible when it comes to choosing his roles. Throughout the film, Shiva stalks the woman he likes, forcing her to fall for him; in one scene he even forces her to sit on his lap. When stalking doesn’t help successfully woo her, he tries getting close to another attractive woman in an effort to win her over. This outlook towards women and these demeaning perceptions are terribly shameful. Portraying the demeaning values his character Shiva demands makes you wonder where the earnest Azhagu from Parthale Paravasam has gone.
Nikki Galrani’s character is used for the singular purpose of adding glamour to the film. She is a character that makes progressive women seem non-existent. For the most part, she is asked to ape a badly choreographed Baywatch run whilst sporting a revealing half-sari.
Amresh Ganesh’s music is blaring, flashy and amateur. His songs resemble badly constructed nursery rhymes that make their way into the screenplay every fifteen minutes or so.
In conclusion, Motta Shiva Ketta Shiva is a deeply flawed film that has an alarming tone of underlying chauvinism which seems to escape undetected by the filmmaker himself. The only way the film could have been better is if the central character’s outlook on women changed dramatically.