Thiruda Thiruda

thiruda thiruda poster

Thiruda Thiruda is a 1993 action film from Mani Ratnam that follows the exploits of two thieves when they inadvertently become involved in a major bank robbery. It’s a real ‘action’ film as almost every scene involves either a fight or a chase of some kind (using nearly every single kind of transport you can imagine), and the heroes are always on the move. At almost 3 hours, the film is rather long, but there is so much happening on screen that it’s an entertaining if not completely edge-of-your-seat watch. However the real reason to watch the film is the excellent music from A.R. Rahman which mixes opera, disco and electronic music with more traditional themes to give one of his best and most interesting movie soundtracks.

The film starts with the printing of new bank notes, destined to be sent all over India in specialised containers that require a computer card to gain access. For added security the containers also require a password, but since this is printed on the computer card, there may not be quite the level of protection the Finance Department think they’ve achieved. The card looks more like a plastic credit card than the key to a sophisticated locking system, but maybe it looked like modern technology back in 1993 and does mean it’s easily transferred between the various thieves. The card is also amazingly impervious to damage and works even after prolonged submersion in water – that does also apply to the truck carrying the money and the container full of money too though so perhaps it’s the water that has the special properties!

Criminal mastermind T. T. Vikram (Salim Ghouse) has various lackeys in India who steal the money for him, but his chief accomplice Ashok (Ajay Ratnam) is quickly apprehended and arrested by CBI chief Laxminarayana (S. P. Balasubramaniam), prompting a rather juvenile temper tantrum from the boss. However after an unpromising start, Salim Ghouse settles into the role of evil mastermind and enjoys himself immensely as he executes people who displease him after he heads to India to find his money. I like that his gang mange to arrange themselves artistically before starting to menace their targets and even the initial robbery is carried off with precise timing and a pleasing display of acrobatic moves on a moving train.

Before his arrest, Ashok manages to send the vital computer card and a cryptic message to singer Chandralekha (Anu Agarwal) who skips out before the CBI manage to arrest her too. Meanwhile petty crooks Kathir (Anand) and Azhagu(Prashanth) are on the run from the police after looting a safe belonging to one of the rich men in their village. During the robbery they stop Rasathi (Heera Rajagopal) from committing suicide, but rather than being grateful she decides to go with them to reclaim her share of the jewellery they have stolen.  Kathir and Azhagu don’t want to be burdened with a village girl so they unsuccessfully try to dump Rasathi, until they learn that she is escaping from an unwanted marriage with her uncle and become sympathetic to her plight.

The unlikely trio cross paths with Chandralekha and get drawn into the race to find the money while trying to stay one step ahead of the law and simultaneously avoid T.T. Vikram and his merry band of thugs. Things move along quickly with a little romance and some attempt at comedy, but mainly there are chase sequences (many, many chase sequences), as Kathir, Azhagu and Rasathi escape from the police, Rasathi’s uncle and his henchmen, the CBI and Vikram and his gang, although not all at the same time. Mostly these are well choreographed with bicycles, motorbikes, cars, horses, buses, trucks, trains and even elephants being used at some point or another, while the art of disguise and misdirection are also used to good effect.

The action sequences ensure that the film keeps moving along at a fast pace, which may be why the various characters are relatively under developed and the script somewhat lacking at times. Kathir and Azhagu should have had an easy camaraderie given that they are two thieves who have been working together since childhood, but here their relationship is clunky. This is particularly noticeable when a love triangle develops between the two thieves and Rasathi and there is little rapport or emotion during their scenes together. It may be the fault of the subtitles but the dialogue between the two is also awkward and fails to deliver the idea of two great buddies out to con the world together.

Heera Rajagopal is much better as Rasathi and even manages a bonding session with the sophisticated Chandralekha which gives Anu Agarwal the chance to make her character more sympathetic than she first appears. Despite her overdone entry scene, I really liked Heera and her portrayal of Rasathi. Every time I felt she was in danger of becoming a typical heroine, moping around and waiting for someone else to save the day, she actually got up and did something about her situation instead. Anu’s Chandraleka was also a much stronger character than anticipated and although the two female leads have less to do than the men, they give the film some much needed shading and depth. S.P Balasubramaniam is in fine form as the CBI officer chasing after the thieves, and fares better than the leads as far as characterisation goes. He has more of a back story and shows good rapport with his co-workers while showing off his excellent interviewing skills. His Laxminarayanan is one of the more interesting characters along with Malaysia Vasudevan as the police inspector, while Ajay Ratnam, Madan Bob and the rest all provide good solid support throughout.

The music really is the stand out performer in Thiruda Thiruda and A.R. Rahman changes from full chorus and orchestral score for the big production numbers to the evocative and very effective a capella song Rasathi, and pretty much everything in between. The mixture of Western and Indian music works well here and it’s probably my favourite Rahman soundtrack just because it is so varied. The accompanying cinematography from P.C. Sreeram is also excellent and the staging of the songs ensures each fits fluidly into the storyline. This is probably my favourite though – a lovely song, beautifully sung by Shahul Hameed with simple but powerful picturisation.

While there are a many Indian films that feature bank robberies, I haven’t seen many that follow this style of heist caper more typical of Hollywood films. It doesn’t work as well as it should due to the lack of rapport between the two male leads, but the various chase sequences are fun to watch and the storyline does have a few reasonable plot twists. For a film that does have so much action, there isn’t much suspense but the characters are likeable, the songs enjoyable and overall the film does entertain. Worth watching for the songs, Heera Rajagopal and S.P Balasubramaniam. 3 ½ stars.

Thiruda Thiruda

O Kadhal Kanmani

O Kadhal Kanmani

Mani Ratnam’s latest film is a modern take on romance that works primarily due to the charisma and energy of the two main leads. Dulquer Salmaan and Nithya Menen breathe life into their respective roles as an ambitious game developer and an aspiring architect in Mumbai, and are helped along with excellent support from Prakash Raj and Leela Sampson. The romance is light and breezy for much of the first half, but the film falters a little in the second when events seem a little too contrived. However the relationship is sweet and beautifully developed, the characters are engaging and the ‘feel good’ factor is high making OK Kanmani simply a very watchable romance that lets you leave the theatre with a smile.

The film is set in Mumbai and Aadi (Dulquer Salmaan) immediately wins support for developing a new game set in Mumbai and made specifically with the denizens of that city in mind. I do like a good idea for the opening titles and OK Kanmani has an excellent start with the credits shown over an animation based on Aadi’s game.  Aadi’s initial enthusiasm is a bit of a worry, but he soon settles down to show his zest for life balanced with genuine care and compassion when he moves in as a lodger with Ganapathy (Prakash Raj) and his wife Bhavani (Leela Samson). Initially Ganapathy allows Aadi to move in under sufferance and presents him with a confronting list of rules and conditions. However Ganapathy’s gruff exterior hides a softer heart and it’s not long before Aadi comes to respect Ganapathy and appreciate the love and tenderness he shows for his ailing wife. The relationship between Ganapathy and Bhavani is the central core of the film and becomes the yardstick against which Aadi and Tara (Nithya Menen), and ultimately the audience, measure the strength of their own relationship.

Tara is working as an architect in Mumbai but has plans to attend university in Paris to further her training. Refreshingly she has no desire to get married, although she bases this on the failure of her parent’s marriage rather than anything more radical. However she has dreams and desires that are personal goals to achieve and she doesn’t base her worth on her marriage prospects. Aadi too has no desire to get married but does want a relationship with Tara, at least until she moves to Paris and he realises his dream of moving to the USA. Again, in contrast to most SI love stories, there is no stalking required here. Tara likes what she sees of Aadi and is happy to have a relationship with him until she leaves – no strings attached, just two people enjoying each other’s company.

Mani Ratnam is careful to show that the relationship not a one-sided affair, and that Aadi and Tara have an equal attraction to each another. Both characters have reasons to act as they do, and the equal development of both the hero and the heroine is a welcome departure from many recent films with their expendable and interchangeable heroines. In addition, both Tara and Aadi have a fairly casual attitude to their romance and it’s fantastic to have a female character that isn’t afraid of declaring her desires just as loudly as her male counterpart, and act on them too. Aside from giving both characters equal voices in the romance, Mani Ratnam also perfectly captures the delight and excitement of the early stages of their affair; helped along by the excellent on-screen chemistry shared by the two actors.

Aadi and Tara are independent and both are living away from their families, which gives them the freedom and opportunity to live as they please. They decide to move in together, and given the shortage of housing in Mumbai and the fact that Tara lives in a women’s hostel that means that they have to beard the lion in his den and face Ganapathy. However Ganapathy’s initial objections are overcome by the delight he sees on Bhanvani’s face when Tara sings with her, and as easily as that he agrees to the arrangement.  Naturally Aadi’s brother and Tara’s mother are appalled when they learn of the relationship and find out that the couple are living together. The couple also have to deal with the looming separation as Aadi gets his chance to move to the States and Tara’s date to start University is finalised. Weaving through their struggles is the example set by Bhavani and Ganapathy – proof that perhaps love can be enough.

Both Nithya Menen and Dulquer Salmaan are excellent and fit easily into their roles. Dulquer is a good fit for an enthusiastic but respectful young professional and there is no hint of the obsessive man-child more often seen in Indian romances. Nithya is perfect as the fiercely independent and strong-willed architect and provides a good partner for her co-star without straying into overly glamorous heroine territory. However Prakash Raj is the absolute star performer here and he easily steals the show every time he is on-screen. His facial expressions convey more than the dialogue and he has an easy rapport with Nithya and Dulquer while maintaining a perfect relationship with his onscreen wife. Leela Sampson is also superb and completely nails the quiet confusion required from her character while still maintaining her dignity. The scenes between Ganapathy and Bhavani are some of the most moving I’ve seen in recent times and are a good counterpart to the happiness and excitement of Tara and Aadi’s relationship. This second romance is what lifts the film above most love stories and compensates immensely for the somewhat disappointing end to the film. At least for me.

Spoiler alert – stop now if you don’t want to know how the romance ends and skip down to after the next images.


What is disappointing is that the film suggests that Aadi and Tara can only be faithful to each other and maintain their long distance relationship if they are married. I find the assumption that they would drift apart without that commitment a slap in the face for all the wonderful development of their romance that has gone before. I cannot see how marriage is the answer to their problem when they could have done exactly the same thing without getting married and probably had the same outcome – especially when the rest of the film does so well at banishing stereotypes and conventional attitudes. It’s a small point, but one that I found annoying given that it seemed so unnecessary – I have more faith and belief in the characters than it appears their creator does, although I did wonder if this was perhaps just a way to get past the censors given the live-in relationship portrayed – food for thought!

End of spoiler!

Aside from my minor quibble about the end of the story, OK Kanmani is a beautiful romance that perfectly develops a balanced relationship and deals with many of the trials and tribulations of modern life for a young couple. The characters are believable, the situations generally realistic and the performances exemplary from the entire cast. Add in the upbeat and catchy soundtrack from A.R. Rahman and O Kadhal Kanmani is definitely a film I recommend and one I will watch again and again.  Just wonderful!


I (2015)


Shankar is a director who has proved in the past to have amazing vision and a seemingly unending wealth of imaginative ideas. Many of his previous films have been visually stunning with incredible effects and novel concepts, but he seems to have missed the mark somewhat with his latest movie I. He has the benefit of an excellent cast and a potentially interesting story, but somehow the sum of the whole is not as good as each individual part. The film has a few too many cringe-worthy moments to make me want to see it again although Vikram is superb, and Amy Jackson is also impressive despite a rather limited role. However their characters aren’t particularly likeable and the story meanders annoyingly along several inconsequential paths before finally reaching the predictable and cloyingly trite end. I’m not even going to complain about the dodgy medicine since there was so much else that bothered me more about the improbable and often distasteful screenplay, but the ‘science’ is just as far-fetched as the rest of the story. Really the only reason I can give to watch I is Vikram and his impressive ability to transform himself into just about anyone, and that’s not quite enough to justify the 3 hours plus of I.

The story revolves around Lingesan (Vikram), a body builder from the back streets whose ambition in life is to win the Mr India competition. Be warned, there is a lot of flexing and posing in the first half hour of the film, while Lingesan tries to win the Mr Tamil Nadu crown from a large number of other over-muscled and over-oiled men in very skimpy bathers. It’s quite impressive that Vikram managed to achieve this look, but it’s not attractive and I was much happier once he put his clothes back on and backed off on the oil. Unfortunately he doesn’t really stop the flexing and posing even when fully clothed.

There is also a ridiculous fight scene backstage at the Mr Tamil Nadu championships with Lingesan managing to fight off multiple opponents including his arch-rival Ravi (M. Kamaraj). Ravi is a much better contender for the title of Mr Tamil Nadu so it’s a little surprising that he takes Lingesan as an opponent so seriously, but at least there is a relatively valid reason for the ongoing enmity between the two men, even if it does seem unlikely.

Lingesan is also obsessed with model Diya (Amy Jackson) to the point where he purchases absolutely anything she has endorsed, and I do mean absolutely everything. It’s quite creepy initially but does move out of stalker territory once Diya and Lingesan meet and Lingesan starts behaving like a 13 year old besotted schoolboy instead. It’s not a lot better but at least it’s funnier. Santhanan provides the rest of the comedy as Lingesan’s brother Babu, and for the most part he’s reasonably amusing, although a comedy track really wasn’t needed given just how ridiculous the plot becomes in the second half of the film.

From body builder to model is apparently as simple as getting a haircut and shaving off a moustache and with that Lingesan transforms into successful model Lee on the basis of one ad campaign and a romance with his muse Diya. However to get to this point Lingesan has pissed off quite a few people including the obnoxiously sleazy model John (Upen Patel) who is furious at being foiled in his attempts to get Diya into bed. Diya’s transgender make-up artist Osma (Ojas Rajani) also falls in love with Lingesan and is hurt and vengeful after his rather forceful rejection of her advances. John’s behavior is fairly gross but nothing unexpected for a masala movie, but the ‘romance’ between Osma and Lee is badly developed and feels more homophobic and derogatory than necessary. I can’t decide if Shankar was trying to be clever here and make a point about how the world views people who are transgender given that the film is based in the advertising world and uses image and ideals of beauty to develop the plot, or if this really was just a bad piece of writing, but it’s hard to watch whatever the reasoning.

Interspersed with the frothy romance are flashes to the present day where a hunched and grossly deformed Lingesan has kidnapped Diya on her wedding day, and the story gradually shifts to a tale of vengeance and medical improbability. Here at least the idea of image and beauty does get a little more developed although the masala element is still very much to the fore. Lingesan seeks revenge on the people who have caused his illness and as scientific reality goes out the window the story gets ever more ridiculous until the Beauty and Beast song seems quite normal and believable by comparison. It’s also a pleasant relief from all the disfigurement and maiming, although like other songs in the film it’s not well integrated into the narrative.

There are a number of more mundane inconsistencies such as the sudden turnaround in Diya’s treatment of hunchback Lingesan and Lingesan’s continued strength and agility given his deformed body. Not that any of the rest of it makes any more sense, but there is too much that is implausible and the story becomes too far-fetched to take seriously. However there are also far too many scenes where the people variously handicapped as a result of Lingesan’s revenge are ridiculed and mocked for their appearance and disability. It’s part of the plot sure – these are people who now look as ugly on the outside as they are on the inside, but I found this really quite shocking and abhorrent, particularly as it’s meant to be part of the comedy and is anything but funny.

This is definitely Vikram’s show and he does do an amazing job in portraying the two different faces of Lingesan.  Amy Jackson is much better than I expected, and the rest of the cast are all good given that they are all overshadowed by the powerhouse that is Vikram. The special effects by Weta Workshop are also very well done, and it’s such a shame that the story doesn’t come anywhere close to matching the visuals of the film. Of course it’s a story set in a world where image is all and appearance trumps substance at every stage so perhaps that’s not too surprising after all.



Finally it’s here! Friday was not only the Superstar’s birthday but marked the release of his latest film with director K.S. Ravikumar. There has been plenty of hype and expectation for this film, so did the team who gave us the hits Padayappa and Muthu deliver another blockbuster? Well….. mostly. This is a Rajinikanth film so we all know what to expect, and it goes without saying that the outfits will be stupendous, the songs lavish and attention firmly focused on the star in every scene.There is nothing much new about the story, but that’s not really the point, since it’s the entire spectacle and the heroism that’s important and there is plenty of that to be getting on with. Lingaa delivers most of the Rajni ‘formula’ characteristics we’ve come to expect, and with good performances from Anushka Shetty and Sonakshi Sinha there is plenty to enjoy in full masala style.


The film starts with the exploits of Lingaa (Rajinikanth), a thief and con-artist who, along with his merry band of Santhanam and Karunakaran, attempts a major heist at a jewelry exhibition. His outfits are classy and his concept equally sophisticated but Lingaa is foiled in his attempt to sell the jewels on by journalist Lakshmi (Anushka Shetty). Lakshmi is in search of the grandson of Raja Lingeswaran, the only one who can re-open a temple in her village and who just happens to be our jewel thief Lingaa.  Using tricks and flattery, Laksmi manages to get Lingaa to go to the village but not before she indulges in a full blown fantasy song with Rajnikanth as the pirate king come to recue her and her backing dancers, who perpetrate crimes on the high seas against the ruffle shirt amongst other fashion crimes.

Once in the village, Lingaa is taken aback by the respect shown to his grandfather, but since he himself feels no obligation to the man who lost all the family money, he is content to use the situation purely for gain. However in the course of events, Lingaa learns the full story of Raja Lingeswaran and exactly how he lost his money but won the respect of the people for his life-saving dam. We see all this in flashback mode with Rajinikanth also playing the role of his grandfather, in a beautifully drawn flashback to the 1930’s with period furniture and apparently CGI elephants. No mention though if all the horses, mules and buffalos were CGI too. Back in the thirties Rajni’s love interest this time is village girl Bharathi (Sonakshi Sinha) who has just as epic an imagination as Lakshmi, although she favours a more regal theme in her fantasy.

The thirties track starts with a superb fight scene on a train that features Dev Gill as a freedom fighter and touches on the Independence movement, the corruption and cruelty of the British Collectors, and the blind neglect of the Governors, the inequities of the caste system and the struggles of rural India as the farmers battle drought and flood. It’s a bit of a mish mash of ideas, but through it all Rajnikanth walks tall in some wonderfully spiffy costumes and what must surely be the best collection of sunglasses onscreen ever.

The film looks amazing with obviously no effort spared on the sets and outstanding costuming for Rajinikanth.  There aren’t all that many fight scenes, but they are all well choreographed and fit into the main narrative. The train fight scene is undoubtably the best with Rajni stylishly eliminating a train full of bandits with effortless ease, including a one on one with Rahul Dev on top of the train. The action scenes set in and around the building of the dam are also well filmed and the effects well integrated to give the impression of a truly massive construction.  The songs by A.R. Rahman are a little less successful, but since the dance numbers are mainly dream sequences, the total switch from the story is a little less disruptive. The songs which move the story forward such as the stirring Indiane Vaa more successful and the background music, also by A.R Rahman, is suitably evocative for each era. I do like the songs and actually like them more after seeing the visual to match, even with those ridiculous costumes in Mona Gasoline!

Sonakshi Sinha and Anushka Shetty don’t have a huge amount to do other than as the romance interest for the two Lingeswaran’s, but K.S. Ravikumar does give both of them a few important scenes in their relevant story lines. Santhanam and Karunakaran are also kept mainly in the background and when Brahmi makes a brief appearance early in the film it’s over almost before you realise it’s Brahmi. Still this means the focus is firmly on Rajinikanth and he makes the best use of every moment on screen with one liners, epic speeches and that twinkling smile.

Perhaps the only problem I have with Lingaa is the relative ineffectiveness of the villains, although I did appreciate the very normality of their respected self-interest. In the present day Jagapathi Babu does the honours while in the flash-back the actor playing the British collector is suitably sneery but a little too much of a caricature for me to completely believe in the character. The finale also seems a little rushed, especially since the computer graphics don’t work quite so well here as in the rest of the film. However it’s still Rajni doing several impossible things at once while saving the day and the girl (yet again) so for me it’s fine to accept the glaring unfeasibility of it all and just enjoy the spectacle.

I really enjoyed Lingaa, and loved watching Rajinikanth in the two separate incarnations of Lingeswaran. The comedy and action in the first half is interspersed with the insanely OTT songs while the second half is more sedate in keeping with the thirties backdrop. I am a big Rajinikanth fan which undoubtably colours my opinion, but this was fun and entertaining. Definitely well worth watching for the Superstar and those wonderful sunglasses!

Just as an aside, Lingaa was showing at The Astor here in Melbourne and when I left the cinema I was confronted by a sea of Jake and Elwood Blues lookalikes who were there for the 7pm showing of The Blues Brothers. From one iconic sunglass wearing movie superstar to an iconic  movie – it made my day!



Kaaviya Thalaivan (2014)

Kaaviya Thalaivan

Kaaviya Thalaivan sounded promising. A character driven drama set in the world of Tamil theatre in the 1920’s should have been exactly my kind of film, but despite excellent performances from all the  actors and A.R.Rahman’s expressive  soundtrack, the story is frustratingly predictable with little of the expected melodrama. The beautiful costumes and period sets cannot compensate for a very pedestrian telling of the rivalry between two actors and the ups and downs of a theatre company in the years before Indian Independence.  However, at least there are great costumes and stunning sets, and even if the story is disappointingly flat there are plenty of moments of brilliance from the individual actors which do make Kaaviya Thalaivan worth a watch.

The film is semi-narrated by Gomathi Nayagam Pillai (Prithviraj) who is sent as a young boy to train as an actor with Thavathiru Sivadas Swamigal (Nasser). During their travels, Sivadas Swamigal takes in a young orphan beggar called Kaali – later to rejoice in the name of Thalaivankottai Kaliappa Bhagavathar (Siddharth). Gomathi and Kaali become friends in a fairly standard ‘protecting from bullies, blah blah blah heard a million times before’ storyline. Now that familiar track wouldn’t matter if their developing relationship was told with any supporting emotion, but Gomathi runs through the story as if it’s a reading exercise in class and the identity of the protagonists is a matter of great indifference to him. Naturally then, it doesn’t matter to the audience, and Gomathi’s attitude appears more as boastful self-importance rather than genuine compassion for a young orphan.

From children to young men in the theatre company is a matter of a few moments and the two seem to be at least notionally friends at this point. Their different personalities are defined by a moment in the wings as they watch the hero Bhairavan (Ponvannan). Gomathi voices his desire to be just like Bhairavan while Kaali recognises the flaw’s in both the performance and the man, and instead aspires to be like their guru – Sivadas Swamigal.  It’s not unexpected then when Sivadas Swamigal chooses Kaali to be the hero for the company’s next production, or that this sews the seeds of resentment in Gomathi for his ‘humiliation’ which is really all in his own mind.

Gomathi  seems to take it as inevitable that he should resent Kaali for his success, without having any better reason to do so  than his own sense of self-importance. That could have worked as motivation if it had been developed in any way, but instead the rivalry is treated as a given and no further explanation is necessary. While Gomathi is silently angry, Kaali is blithely oblivious and embarks on a ridiculously straightforward romance with Rangamma (Anaika Soti), the local lord’s daughter. Kaali has little difficulty accessing Rangamma’s rooms, which should realistically been a little more heavily guarded, and no-one other than Gomathi seems to suspect anything, despite the heavy-handed flirting that goes on between the two during stage performances.  At least finally there is some passion and vitality to the characters, although not so much between Kaali and Rangamma but rather in an excellent scene where Sivadas Swamigal confronts Kaali about his love affair. Both Nasser and Siddharth are over-emotional and sufficiently melodramatic to suit the story at this point, while Prithviraj gets a chance to be nastily spiteful. However it’s a small oasis of theatricality, and the story quickly reverts back to a more plodding pace once Rangamma is out of the picture. That’s actually a shame since Anaika Soti does well with the limited role and looks beautiful in the songs. I would have liked to see more of her, but Kaali needs to have a reason for his life to turn pear-shaped and losing Rangamma works relatively well.

The final character in the drama is Ganakokilam Vadivambal, aka Vadivu (Vedika), a dancer and singer who joins the company and replaces the more traditional male actors in the female roles. Vadivu is in love with Kaali, but he only has eyes for Rangamma, while Gomathi pines in the wings for Vadivu who barely seems to notice him. It’s a situation that should be full of jealousy and passion but is instead treated clinically without any of the emotional drama that would have made the characters more effective. Again there is no justification for Vadivu’s ever more extreme devotion to Kaali, and although there is a little more substance behind Gomathi unrequited love, it doesn’t seem realistically likely to survive in the face of Vadivu’s determined rejection. However both Vedika and Prithviraj are good enough actors to generate some plausibility in their relationship and the tension between the two does become somewhat more palpable as the story develops. Without Prithviraj this really wouldn’t have had anything like the same impact, but he really does do a good job with very limited dialogue and little opportunity to demonstrate exactly why he feels the way he does.

Vasanthabalan also adds in a Nationalist thread to the plot which seems to be an unnecessary complication when more detailed development of the story and more in-depth characterisations of the three protagonists would have worked just as well, if not better. Once Kaali becomes a Nationalist, that too in a matter of moments while in prison, his fate is sealed and the ending is as predictable as expected. As Kaali, Siddharth comes away looking the best of the cast, partly because his character has more scope and inherent drama, but mainly because he really does an excellent job with the role. His performance is flawless and particularly in his scenes with Nasser there is a definite sense of the arrogance and self-confidence that underlies Kaali. Siddharth also nails the hurt and despair when Kaali is let alone in the world and his scenes with Nasser are superb. More of these and less of the bland romance would have been much better. Prithviraj and Vedika do as best as they can  within their limited roles and there are times in the second half where both get more of an opportunity to show more depth, but they are hampered by a lack of motivation for their characters actions which makes them too one-dimensional to be truly effective.

It’s perplexing that a film set in and all about theatre could end up so lifeless and devoid of melodrama, but that is exactly the problem with Kaaviya Thalaivan. I really wanted to like this film as I appreciate the attempt by Vasanthabalan to tackle something different,  but I just couldn’t engage with the characters and was completely frustrated by the lack of any reasonable justification for their actions. I know that’s my usual rant but it is so very noticeable here in a film where the motivation really should be key to developing the drama. However, the film looks amazing, Siddharth is fantastic and the music and songs are excellent. It’s a visual feast even if there is no substance to the spectacle and for that alone the film deserves to be seen and at least once.