Despite having many under his command, Ani quickly notices the four newcomers for their fearlessness and agility. Their loyalty and courage in helping him evade the police once — including fighting off the officers — further endear them to him. So, when he receives a job to steal a large sum of black money hidden in a warehouse in Tamil Nadu, he assigns the mission to Anandhu and his friends. They accept eagerly, hoping this mission will finally bring them the wealth and respect they crave. With the support of Sitru (Vigneshwar Suresh) and Malar (Krish Hassan) — two young men who previously failed at the task — they embark on a journey fraught with life-threatening obstacles. Little do they know that this journey will change their lives forever, with the rest of the film following their path forward and the consequences that unfold.

While most crime thrillers and gangster films are packed with “mass” moments at every turn to thrill audiences, Musthafa and writer Suresh Babu take a more restrained approach, focusing on actions and consequences and allowing them to unfold naturally, without overt dramatisation or excessive cinematic flair. As the movie opens, we see Anandhu, Saji, Manaf and Manu as four young men drawn into the city’s underworld, driven by youthful impulsiveness and naivety, relishing the power and thrill of being known as “Ani’s men.” But soon enough, they come to realise that it’s a labyrinth they’ve entered. In Mura, no character escapes the repercussions of their actions; and Musthafa and Suresh Babu make sure each one ultimately reaps what they have sown.

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The film’s first half mostly focuses on the making of goondas and the way the elite — including Ani, who sports a kumkum mark on his forehead all the time, symbolising devotion to gods — exploit the financial vulnerabilities of the poor to plant desires of leading better lives within them, and it’s evident that many of Ani’s gang members come from lowered castes. Mura also underscores how the historical practice of savarna elites manipulating lowered castes for their own dirty work, using the illusion of a better life, continues even today, with the younger generation now becoming the primary targets.

However, the film struggles to make viewers feel sympathetic towards the four youths due to the constant bombardment of crimes. Although we see the four protagonists together frequently and catch glimpses of their camaraderie, the narrative rarely explores their lives beyond the world of crimes. Their conversations mostly revolve around past or upcoming criminal activities, which limits the audience’s understanding of their other shades. The film’s heavy emphasis on violence undermines its emotional depth and while the action sequences are compelling, they don’t compensate for the lack of emotional nuance in the portrayal of the four characters. Suresh’s writing also falters in the dialogue, as it fails to reflect the true nature of friendships. Makers should remember that friends don’t constantly address each other by their first names, yet here, we often hear Anandhu saying “Da Saji, Manaf, Manu” and others following suit, making their relationships seem first-name-basis and one-dimensional.

While the film shows the four facing the consequences of their choices, it misses the opportunity to explore the social and economic factors that drive young people into a life of crime. Mura also stops short of condemning the exploitation of young recruits by the elite. Instead, for much of the film, it appears as though the four are leading a good life as part of Ani’s gang, sending a problematic message. This portrayal even risks suggesting that crimes could be a viable livelihood if one is cunning enough to avoid death. At times, the glamorisation of criminal activities is troubling, particularly with Christy Joby’s impressive soundtrack, which, while stellar, gives the narrative a tone that can feel inappropriately positive.

Suraj Venjaramoodu gives a strong performance here, as usual, though one can detect shades of his previous roles, which slightly detracts from the freshness of his character. Hridhu, Jobin, Anujith, Yedhukrishnan, Vigneshwar and Krish impress in their roles, and their on-screen chemistry elevates the film. Maala Parvathi’s character is compelling and it’s refreshing to see a powerful female antagonist, though she never fully owns the role. Kani Kusruti, despite having limited screen time, delivers a polished performance. Fazil Nazer’s cinematography and Chaman Chakko’s editing enhance Mura’s style, deserving special mention. The song “Noolilla Karakkam,” sung by actor Sreenath Bhasi, is also memorable and likely to stay with viewers for some time.

Mura movie cast: Suraj Venjaramoodu, Hridhu Haroon, Maala Parvathi
Mura movie director: Muhammed Musthafa
Mura movie rating: 2.5 stars