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Mani Ratnam's 'Thug Life,' starring Kamal Haasan, arrives with considerable expectations, fueled by the director's storied past and the reunion with a star who helped shape Tamil cinema. However, the film, viewed through the lens of Ratnam's expansive filmography and the current landscape of South Indian cinema, emerges as a surprisingly straightforward and, ultimately, somewhat underwhelming endeavor. The reviewer immediately points to the prevalent 'bloat' in contemporary Tamil and Telugu commercial cinema, lamenting the lack of concise, coherent narratives, even in films that are otherwise clever and engaging. 'Thug Life,' in stark contrast, presents itself as a deliberate simplification – a choice that, according to the reviewer, doesn't necessarily result in a bad film, but one that feels significantly less ambitious and complex than what one would expect from a director of Ratnam's stature. The film's narrative linearity is particularly highlighted as a deviation from the norm, especially considering the industry's penchant for flashbacks and narrative twists. This straightforwardness, while potentially appealing to a wider audience, arguably sacrifices the depth and intricacy that have become hallmarks of Ratnam's work. The film, at its core, is a gangster drama revolving around Rangaraaya Sakthivel (Kamal Haasan), a don whose actions set in motion a chain of events that shape the life of a young boy, Amar (Silambarasan). The early scenes, rendered in black and white, evoke memories of 'Nayakan,' Ratnam's earlier gangster masterpiece starring Haasan. This initial resonance, however, gradually fades as the film progresses, failing to capture the same emotional depth and thematic complexity. The plot revolves around Sakthivel's cartel, operating in the somewhat vaguely defined environment of Delhi, and the dynamics within this criminal ecosystem. The relationship between Sakthivel and Amar, his protégé, forms the central conflict. The seeds of betrayal are sown early on, hinting at Amar's susceptibility to external influences and Sakthivel's inherent paranoia – traits crucial to surviving in the cutthroat world of organized crime. The first half of the film is praised for its focused narrative and the enjoyable build-up to the inevitable split between Sakthivel and Amar. The reviewer highlights specific moments of brilliance, such as Silambarasan's entry scene in the desert and the exuberance of the 'Jinguchaa' choreography, as well as the performances of supporting actors like Joju George. However, the reviewer also notes the lack of clarity surrounding the specifics of Sakthivel's criminal dealings, suggesting a certain vagueness in the film's overall world-building.
The critical assessment extends beyond the narrative and delves into the directorial choices that shape 'Thug Life.' The reviewer poses the question of whether the film is primarily a Haasan or Ratnam project, or if both artists were entirely aligned in their vision. The underlying argument is that Ratnam consciously opted for commercial appeal over artistic depth – a decision reflected in the film's pacing, the frequency of set pieces, and the absence of overt political or cultural commentary. This perceived prioritization of success over substance is further emphasized by the lack of exploration into the modern gangster film genre itself. While emotional depth is present, the storytelling feels relatively shallow, leaving the reviewer somewhat wanting. A.R. Rahman's score is also examined through the same lens of commercial ambition. While certain tracks, such as 'O Maara' and 'Engeyo,' are acknowledged for their appeal, the overall soundtrack is deemed solid but not particularly outstanding. The exception is 'Vinveli Nayaga,' a powerful song with '80s-pop influences and orchestral elements, which the reviewer felt deserved a more impactful placement within the film. Ratnam's action direction is also critiqued. The reviewer argues that while Ratnam excels at crafting suspenseful sequences that don't heavily rely on combat, he struggles with filming action scenes, particularly those involving extensive fighting and stunt work. The challenges are compounded by the need to accommodate Haasan's age, which limits the believability of his character as an 'indestructible object.' Despite the efforts of action directors Anbariv, the fight sequences are deemed largely unmemorable. The reviewer credits editor A. Sreekar Prasad for salvaging these scenes and maintaining a degree of coherence. The film's strength, according to the reviewer, lies in Haasan's acting prowess. Faced with betrayal, Sakthivel's emotional turmoil is conveyed through subtle nuances and raw expressions of pain and acceptance of his own mortality. The reviewer praises Ratnam's use of close-ups to capture these moments. However, the performances of other actors, such as Silambarasan, are deemed less compelling after the pivotal split, and Trisha Krishnan's portrayal of Indrani is described as a 'disaster.'
In conclusion, 'Thug Life' is assessed as a film that prioritizes accessibility and commercial viability over artistic depth and complexity. While the film benefits from the talents of seasoned professionals like Kamal Haasan, A.R. Rahman, and A. Sreekar Prasad, the overall product falls short of expectations, especially considering the pedigree of its director. The reviewer suggests that Mani Ratnam deliberately chose to create a film that would appeal to a broad audience, even if it meant sacrificing some of the nuances and thematic explorations that have defined his earlier work. The result is a gangster film that is technically proficient but ultimately lacks the staying power and emotional resonance of Ratnam's more iconic creations. The review highlights a broader trend within South Indian cinema, where commercial considerations often overshadow artistic ambition. While acknowledging the audience's appetite for spectacle and entertainment, the reviewer expresses a longing for films that are both engaging and intellectually stimulating. 'Thug Life,' in this context, serves as a cautionary tale – a reminder that even the most talented filmmakers can sometimes succumb to the pressures of the market, resulting in a product that is competent but ultimately unfulfilling. The film's linearity, the lack of thematic depth, and the unconvincing action sequences all contribute to a sense of missed opportunity. While 'Thug Life' may find success at the box office, it is unlikely to be remembered as one of Mani Ratnam's most significant contributions to Tamil cinema. Its value lies perhaps more in what it reveals about the current state of the industry and the challenges that filmmakers face in balancing artistic vision with commercial demands. The film, as the review aptly points out, 'shoots a bit too straight', and that lack of curve and nuance ultimately prevents it from achieving its full potential. It is a competent action flick, but it is not a Mani Ratnam masterpiece. The film feels like a director taking a calculated risk, aiming for broad appeal rather than pushing the boundaries of cinematic storytelling. While that strategy may be financially rewarding, it also comes at the expense of artistic innovation and lasting impact. The legacy of 'Thug Life' will likely be as a solid, but not spectacular, entry in the filmographies of both Mani Ratnam and Kamal Haasan, a film that prioritizes entertainment over exploration, and accessibility over artistic ambition. It’s a film that doesn’t necessarily fail, but it certainly doesn’t soar.
Source: ‘Thug Life’ review: Mani Ratnam's gangster film shoots a bit too straight