Idli Kottu Review

Success often inspires imitation. Dhanush's 2019 blockbuster Asuran, directed by Vetrimaaran and based on the rural social novel Vekkai, was a raw, powerful tale that struck a chord with audiences. With Idli Kottu, Dhanush steps in as writer, director and the lead actor, aiming for a similarly rooted narrative. While the film carries the earthy texture of Asuran, it lacks the same emotional depth and relatability. Something feels amiss, leaving viewers with an aftertaste of insignificance rather than impact.

To make matters worse, Idli Kottu arrives alongside juggernauts like Mirai, They Call Him OG and Kantara Chapter 1 - all grand spectacles that dominate the box office. Against such competition, the film struggles to find its footing, with even single-screen audiences responding tepidly.

Idli Kottu (dubbed from the Tamil original Idli Kadai) tells the story of Murali (Dhanush), a young man torn between his father's Gandhian values and his own ambitions. His father, Kesavudu (Rajkiran), lives contentedly running a small idli shop, Idli Kottu, in the village of Shankarapuram. Murali, however, dreams of a luxurious city life.

Chasing his ambitions, Murali completes a hotel management course and secures a job at AFC (a KFC-like chain) in Bangkok. There, he proves his skill by managing operations and even keeping in check Ashwin (Arun Vijay), the hot-tempered son of company owner Vishnu Vardhan (Sathyaraj). Impressed, Vardhan not only promotes Murali to partner but also plans to get his daughter Meera (Shalini Pandey) married to him.

Tragedy strikes when Murali's father passes away. Returning to Shankarapuram for the last rites, Murali recalls his father's simple way of life. He even finds true love in a village girl Kalyani (Nithya Menen). He decides to give up his city ambitions and revive Idli Kottu with the support of Kalyani. This choice enrages Vardhan and his family - especially Ashwin, who becomes determined to destroy Murali's humble eatery.

The main issue with Idli Kottu is that the central theme itself feels unrelatable. There are very few examples of Indians who, after settling abroad with better opportunities and profiles, choose to return permanently to the motherland. Now imagine someone holding a CEO-like position in a KFC-like chain, suddenly abandoning it all to run his father's modest 15x15-feet idli shop back home. That's where the movie loses its grip. Especially so when Murali, the protagonist, has been shown since childhood as someone chasing wealth, comfort and luxury. His sudden reversal of dreams, though noble in intent, rings hollow.

Idli Kottu does begin well, flows smoothly, and often brims with profound reflections on livelihood and life. It has its share of emotional highs too. Yet, once you step out of the theatre, the impact fades quickly. In many ways, it does not feel like a typical Dhanush film. Still, the treatment - raw, rustic and documentary-like - demands attention, if only for its sincerity and its Gandhian undertones that, while familiar, remain relevant.

Indeed, the detailing is strikingly real. Picture a regular idli-dosa-vada shop in a quiet hamlet of South India, and you have captured the soul of Idli Kottu. Kesavudu's daily routine, from waking up, praying, and preparing for the day, to running his modest eatery and greeting customers, is portrayed with remarkable authenticity. Nothing feels staged. The locations are not Ramoji-like studio sets but lived-in spaces; the extras are not polished actors but real villagers. The art direction avoids gloss - no artificial makeup, props or costumes - except for a few minutes shot in Bangkok's corporate corridors.

The film also leans heavily on Gandhian ideals of Ahimsa Paramo Dharma. Through its twists and turns, it questions when to restrain, when to retaliate, and when compassion must prevail. One sequence stands out: Murali's rival (Samuthirakani) storms into his house with a Kathi (a type of knife), intent on killing him. Failing to find Murali, he turns his rage on a helpless calf. Murali arrives just in time to save the animal, thrashes his enemy, and leaves him with a poignant remark: "Harm me if you must, but why the calf? That innocent life has nothing to do with our battles or egos." It is in such moments that Idli Kottu finds its voice - quiet, humane and unadorned - even if the larger narrative falters.

Dhanush, Nithya and Rajkiran slip naturally into their roles as simple villagers. Among them, Nithya shines the brightest. She not only looks the part of an idli vendor's plump wife but also brings warmth and authenticity to the role. The only drawback lies in her dubbing - the voice lacks the natural charm and intonation you know her for in the Malayalam movies, taking away some of her impact.

Dhanush delivers a solid performance, though not a memorable one. Most times he seems to repeat Asuran. His chemistry with Nithya, however, is a refreshing highlight - tender, believable and genuinely endearing.

Sathyaraj takes on something new here, playing a wealthy corporate boss for the first time, and he does it with ease. Arun Vijay impresses as the ego-driven Ashwin, while Samuthirakani lends weight as Murali's village nemesis.

On the technical side, there is not much to celebrate outside of the visuals. G V Prakash's background score is largely forgettable, and Kiran Koushik's cinematography does little more than serve the story. What works best visually is Dhanush's choice of real, lived-in locations that lend authenticity to the film.

In the end, Idli Kottu feels unlike a Dhanush film - earnest but lacking freshness. It offers little that warrants a theatrical watch. Wait for the OTT release, if you must.