Julian Barnes, in his 2011 Man Booker Prize-winning novel ‘The Sense of an Ending’, profoundly explores the indispensable role of corroboration in shaping our recollection of a life. He posits that a critical oversight by the young concerning old age is the diminishing certainty about one’s identity and past as the witnesses to their life fade away. This poignant insight into the nature of memory becomes an inescapable lens through which to view M. Manikandan’s compelling new JioHotstar series, ‘Muthu Engira Kaattaan’. This ten-episode saga meticulously pieces together numerous attestations to the truly remarkable life led by a deceased man.
The narrative commences a mere week before a local police station faces imminent closure due to an extended period of inactivity. A disgruntled officer, vexed by the impending shutdown, stumbles upon a discovery at a desolate foothill that will irrevocably alter his life and the fate of his precinct: the severed head of a mysterious man, seemingly frozen in a macabre grin. The subsequent investigation into this grim find—which also serves as the intriguing introduction to actor Vijay Sethupathi—propels the police unit into a captivating inquiry, delving deep into the multifaceted identities of a single individual.
The characters inhabiting the Periyaveerampatti police station are each imbued with distinctive eccentricities. M. Kaalai Pandiyan (Vadivel Murugan) operates as both a part-time constable and a full-time goat herder, a description often humorously employed by his superior, Sub Inspector Sidharthan (Muthukumar). For Kaalai, the station’s closure presents a stark choice between his two callings, with the continuation of police work necessitating a move away from his cherished hometown. Sidharthan, in contrast, cherishes the tranquility of his station, often appearing overly relaxed. He punctuates his speech with polite English phrases—like “Please take care of your health” addressed to an elderly woman who doesn’t understand—and consistently seeks permission before inspecting personal belongings or taking photographs. This portrayal sets Sidharthan apart from the conventional, often brutish, depictions of cops in Tamil cinema, instead showcasing officers who extend utmost respect and trust to fellow human beings, echoing Manikandan’s thoughtful humanization of a constable in his acclaimed ‘Kadaisi Vivasayi’. The third officer joining the investigation, Thangamudi (Singam Puli), despite being arguably the least industrious, harbors an ardent desire to work in a bustling, more active police environment.
With assistance from a local informant (Balaji Sakthivel, in a role as an elderly villager), Sidharthan successfully identifies the severed head as belonging to Muthu, a man with a convoluted past. Initial accounts reveal him as a former bodyguard for a traveling dance troupe. Further inquiries unfold a tale narrated by a local hotelier, detailing how Muthu generously paid a substantial sum to buy the parotta stall from the owner’s cruel former boss, effectively elevating him to proprietorship. As the investigation progresses, a cascade of Muthu’s diverse lives emerges: he was once a watch mechanic employed by a North Indian from Mumbai; he served as an elephant mahout in Kerala, becoming a trusted henchman to a local MLA; and he even operated as an enigmatic tempo driver who purchased goat droppings from villagers with money. A recurring motif through all these disparate testimonies is Muthu’s considerable wealth and his propensity for extravagant spending.
Muthu emerges as an enigmatic figure of myriad complexities, a man defined by extremities and, at times, stark contradictions. On one hand, he appears to have relished life’s quietude, yet on the other, he never hesitated to unleash the ferocity implied by his moniker, ‘Kaattaan’ (a wild ruffian). Despite lacking immediate family, he exhibited profound loyalty to Sivettan (Milind Soman), a benevolent businessman whose orphanage Muthu managed for several years. His past, it is hinted, was heavily burdened by overwhelming guilt, grief, and remorse, compelling him to steadfastly refuse any retrospection.
