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'100' movie review: A passable thriller with a laughable twist

Updated - May 11, 2019 03:15 pm IST

Published - May 11, 2019 11:44 am IST

Atharvaa doesn’t boast of a colourful resume. A cursory look at his filmography, and you can easily slot it into three phases. The romantic phase where he made films like Baana Kaathadi and Muppozhudhum Un Karpanaigal . The catering to B and C centres phase, with films like Eeti , Kanithan and Chandi Veeran . Currently, Atharvaa is in the mass zone. We saw that earlier in Boomerang and now, 100 .

A college brawl involving a female student sets off things. The boys wait for Sathya’s (Atharvaa) arrival. He gets a slow-mo intro. Which is to say that he has arrived. But not quite.

What explains Tamil cinema’s fascination for naming police officers Sathya? Vijay was called Satyamoorthy in Pokkiri . Ajith Kumar was called Satyadev in Yennai Arindhaal . Sibiraj was Sathya in well, Sathya . Narain was Sathyavan in Anjathey (more about this later). Atharvaa too plays Sathya here. Yes, a police officer.

• Cast: Atharvaa, Hansika Motwani, Yogi Babu and Radha Ravi
• Director: Sam Anton
• Storyline: Sathya aspires to be a super cop, but lands up working as a control room operator. When an opportunity presents itself, he tries to save the day.

The brawl ushers Sathya to meet Nisha (played by Hansika Motwani. More than 40 films, and she still cannot get the lip-sync right). The moment you discover that her name is Nisha, you squirm. Given Tamil cinema’s history, heroines who are named Nisha (Kajal Aggarwal was Nisha in Thuppakki ... just saying) disappear after four scenes and two songs. And these songs, too, will have montages of the hero-heroine spending time on the beach, visiting recently-opened malls in Chennai, taking selfies, exhibiting their cuteness and so on. Sam Anton doesn’t seem to care about the clichés as long as the masses are entertained. Speaking of masses, Yogi Babu is the silver lining in 100. His gag involving Radha Ravi and Vishal is a hoot.

The premise borrows its one-liner from Mysskin’s gorgeous Anjathey — two friends-turned-foes rediscover their friendship, with sexual assault and extortion as the backdrop.

With a stern look and bulging biceps, Sathya hopes of becoming a rough-and-tough police officer, upholding justice. By his own terms, he doesn’t believe in earning quick money and wishes to sweat it out. When he finds out that his girlfriend is a telecaller, he laughs. But the joke is on him, for he’s commissioned to work as a control room operator, taking calls that begin with “hello, nooru ”. The scenes inside the control room are genuinely interesting and present a picture as to how these officers function — like when they get a hoax call. Sathya is dejected by the setup, but is convinced by his superior officer, Pistol Perumal (Radha Ravi), that his 100th call would be a gamechanger.

100 has good ideas that needed better writing. For instance, packets of drugs are casually stuffed inside a cell phone box and delivered like an online order. The plot begins to heat up when a schoolgirl gets brutally murdered — something similar to the Swathi murder case. When Sathya receives his 100th call, from the same girl who was reported to be dead, he smells a network behind the kidnappings. But the film loses its audience when the director tries to stitch together the plausibility of events, with an absurd twist.

Tamil filmmakers are in their ‘woke’ phase right now and what better than sexual harassment cases, which have been making headlines every other day? Filmmakers tend to normalise sexual assault by reducing it to a narrative device, and end up harassing the audience. The latest entrant being 100 .

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'100' Review: A well-cast and well-executed family thriller

Actor Ramesh Aravind has time and again proved his mettle as a responsible filmmaker, and in 100, the director has dealt with the contemporary topic of cybercrime. The timing of this film is noteworthy considering digital crime is on the rise. 100 is an attempt at sensitising audiences about the crime. 

Although adapted from a Tamil film, there are a lot of changes in 100. The film stars Ramesh Aravind as police officer Vishnu, whose integrity is tested when he is deputed to an intelligence bureau, where he is assigned the duty to wiretap calls of top bureaucrats and politicians. The major segment narrates how Vishu goes about leveraging his job to become a vigilante. A police officer, who is a family man, is surrounded by women in his family with a mother, sister Hima (Rachita Ram), wife Anaga (Poorna), and daughter.

The movie subsequently unfolds about his various assignments, and how he crosses paths with one Harsha (Vishwakarna), which turns his family life upside down. The film is also about how he rescues his sister from an online stalker, which eventually ends in a cat-and-mouse game. Combating cybercrime is the need of the hour, and the film’s central theme is about online hackers, which makes it all the more interesting. Ramesh Aravind, narrates an important theme, with able support coming from cinematographer Satya Hegde and music director, Ravi Basrur.

Ramesh, as actor dons the cop’s role with elan, and the performances of his fellow actors, especially rookie Vishwakarna is the strength of the film. Poorna and Rachita Ram too have a strong arc and excel in their respective roles. The comic scenes featuring veteran actor Prakash Belawadi does lighten up the mood of 100. Ultimately, 100, depicting the dark side of social media and obsession with technology, highlights the thin line between our real and virtual worlds. Such will be the impact of the 100 that after watching the film, we might think twice to reveal any personal information on any digital platform.

100 Cast: Ramesh Aravind, Rachita Ram, Poorna, and Vishwakarna 

Director: Ramesh Aravind

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100 movie review: A formulaic cop thriller with over the top action sequences, unnecessary heroism

In 100, Atharvaa Murali plays a cop with ease and looks convincing. Yogi Babu, as his friend in the control room, provides some laughter.

Tamil cinema is obsessed with cop films where most of the time an angry police officer fights the system and triumphs in the last reel. Although this formula has been used to death in hundreds of films, even the big heroes love playing the Kollywood’s ‘Dirty Harry’. Every upcoming hero jumps at the idea of doing a cop film in a bid to attain the next level of stardom.

Atharvaa Murali is the latest to jump on the cop bandwagon with 100 The Movie . As seen in many past films, Sathya (Atharvaa) is an angry student waiting to be short-listed in the police force. He wants to flex his muscles and get a posting in an area where he will be able to counter the rowdy menace. And soon he gets his appointment order from the Home department, he realises he is posted in the control room, where he has to use his brain more than brawn. It is mentioned subtly that only those who are dull are deployed in the control room and those with connections are posted in police stations.

However, he gets fed up of sitting in the control room, listening to prank calls and hearing out people’s problems. Sathya’s immediate boss ‘Pistol’ Prabhakaran (Radha Ravi) tells him he has the that nickname as he has never used a pistol in his career. One day, while whiling away his time, Sathya gets his 100th call, from a girl who is presumed dead by the police. But the girl says she was kidnapped. He traces the call and goes after the case which leads him to a kidnapping gang that abducts women and posts their personal photos on Facebook. The rest of the film is how Sathya, a good cop, teaches the bad men a lesson.

The premise of the hero manning the police control room is different from other run-of-the-mill cop stories. Alas, like every other new age Tamil cinema director, Sam Anton too can’t resist songs, dances and ridiculously slow-paced action scenes that unnecessarily hype up the hero. There is a heroine (Hansika) who appeares in exactly three scenes, including a song. She disappears in the second half. It also seems like the hero speaks to the main villain in only punchlines for the sake of the climax.

Atharvaa Murali plays a cop with ease and looks convincing. Yogi Babu, as his friend in the control room, provides some laughter. Radha Ravi as the senior cop does a neat job. There isn’t much to say about the female character.

The first half of the film is just a built up for a long-drawn-out climax. If Anton had made the film from an engaging script and treated it as a realistic investigative thriller without any over the top heroism, it would have worked.

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100 (I) (2019)

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100 Movie Review

Police stories and Tamil cinema have a weird connection, where cops are generally shown in the shadows of baddies and inefficient or incapable to their position but when the same Khaki is worn by our heroes the scenario turns contrary where we get to witness a righteous cop, a seeker of justice and an intellectual with excellent investigative acumen. At some point of their career there comes a time when an actor chooses to wear khaki in order to seek justice for his fans and in 100 directed by Sam Anton it is the turn of actor Atharvaa to don the khaki and seek justice.

Sathya ( Atharvaa ), a young man desire to be a stern cop who hunts down criminals without mercy, a cop in the context of Singam Surya or Saamy Vikram. After his exams he awaits for the confirmation letter from the department. In the meantime he showcases his first spell of heroism by trashing a college kid Vicky (Raaj Aiyappa) for misbehaving with Ayesha (Harija), the sister of his cop friend Anwar (Mahesh). Shortly after the incident he meets his about to become love of his life Nisha ( Hansika Motwani ) who happens to be the sister of Vicky. Very shortly after the cute meet we get to listen to Sathya reciting few reasons as to why he fell for Nisha. One of the many reasons happens to be that she is a working woman who makes home before the sunset. One could not help but think what views does the director holds on women that work on the night shift slot. Eventually the inevitability happens the both fall for each other.

This makes up the first 25 to 30 minutes of the film, by the time Sathya gets his appointment order. But to his disappointment he gets posted in a control room to handle the calls that comes to the department, most of which are prank calls and few funny calls from kids who wants there exams to be postponed. Meanwhile we get the introduction of veteran actor Radha Ravi as Pistol Prabhakaran, who has this funny name as he has never used his pistol once in his service so far. After a point of time Sathya gets bored of attending calls and that is when he gets a call that demands his brain as well as brawn to solve the case. On his 100 th call a girl who is assumed to be dead by the police department claims that she is not dead but was kidnapped by a group.

Sathya decides to go beyond his line of duty to get the girl home safe, but when he begins to trace the call and venture in to the incident he stumbles up on a web of crimes that encompass kidnappings, drugs, fake facebook accounts, sex trade, rich businessmen and a twist, that is more predictable. Did Sathya manage to expose the aristocrats behind these crimes, was he able to get the girl home safe, is what makes the rest of the film.

Atharvaa, who has proved his talents more than enough in his short career has delivered what was asked of him. But the script falls short of scope to extract the full potential of the actor as it is quite expected of a commercial film like 100. It is sad to see bubbly actress Hansikaa Motwani suffer miserably with her lip sync even after doing a good number of films in Tamil cinema. We get to see the actress oddly in the film; however she manages to have a couple of songs in the film. Yogi Babu shines as a jewel as usual with his one liner and as fellow trainee of Atharvaa. Veteran Radha Ravi seems to have been brought on board to give the finishing touch to the film.

On the whole, the film is a cliché cop film that has nothing new to offer to audience but dressed up as a justice seeker for contemporary sexual harassments that took place in the state. It seems like the film makers are incapable to craft a film on sexual harassment that evokes the emotions of audience without citing reference to Nirbhaya, the infamous Nungambakkam murder, and the recent Pollachi issue.

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100 Movie Review

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100 Movie Synopsis: A young cop, who works in a police control room, tries to solve the mysterious case of a kidnapped girl.

100 Movie Review: 100 is an ambitious cop film with a not-so-bad story and almost convincing protagonist, but is marred by a far-stretched screenplay. Sathya (Atharvaa) dreams of becoming a stern cop, and is awaiting the confirmation letter from the department. However, his happiness is short-lived as he gets posted in the control room. How he interacts with people and solves their issues one by one takes the story forward.

The latter half is comparatively more engaging, thanks to the conflict between the protagonist and the antagonist, and some interestingly written scenes. But you feel exhausted as the story progresses.

Atharvaa is impressive in come scenes and a few one-liners of Yogi Babu evoke laughter. Radha Ravi is apt in the role of a senior cop, while Hansika makes a mysterious blink-and-miss appearance.

The action scenes are okayish but the music is unnecessarily loud in many scenes. Though a slew of relevant topics like women trafficking, parenting, use of drugs, etc, have been included in the movie, a tight screenplay would have helped the film hit the right emotional chords.

100 - Official Teaser

​100 | Song - Nanba (Lyrical)

100 - Official Trailer

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100 ( U/A ) 09/May/2019 Action, Drama 2hrs 04mins

Critics: 9 Panel: 0 User: 174

Overall: 3.9 from 183 users

Synopsis/Plot : 100 is about the officers in control room, whom the needy call in an emergency scenario. The film follows one such officer (Adharva) and how he tries to help a victim who was abducted by unknown, after she reach out to '100'.

Director : Sam Anton

Music Director : Sam C.s

Cast More Cast & Crew (13)

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Critics Review All critic Reviews(9)

Responds to the desperate call for a high-potential action thriller only in its last quarter.

A sub-ordinary crime thriller for Atharvaa making it to the long list of such similar action based, crime drama films. 100 has all the intent but lacks for execution and engagement. (more)

Source: Akash, MovieCrow

100 is an ambitious cop film with a not-so-bad story and almost convincing protagonist, but is marred by a far-stretched screenplay

The action scenes are okayish but the music is unnecessarily loud in many scenes. Though a slew of relevant topics like women trafficking, parenting, use of drugs, etc, have been included in the movie, a tight screenplay would have helped the film hit the right emotional chords. (more)

Source: Thinkal Menon, Times Of India

A watchable cop action entertainer

Had Sam Anton treated the film as a realistic cop action thriller without over the top stunts and heroism, it would've worked better. As Atharvaa is yet to reach the mass hero status, we are unable to digest the unrealistic stunts. Nevertheless, the actor looks super fit and has given his best. (more)

Source: Moviebuzz, Sify.com

A Shoddy Cop Vigilante Movie That's Old Wine In An Older Bottle

In Sam Anton's 100 (the police helpline) the director brings up the Nungambakkam Railway Station case, Nirbhaya, Dhashwanth, Pollachi and more to make us relate to the story of yet-another vigilante policeman played by a barely effective Atharvaa. Even his name, Sathya, is option 1 in the baby-name... (more)

Source: VISHAL MENON, Filmcompanion.in

Source: PRasanth, Prashanth

A passable thriller with a laughable twist

100 has good ideas that needed better writing. For instance, packets of drugs are casually stuffed inside a cell phone box and delivered like an online order. The plot begins to heat up when a schoolgirl gets brutally murdered - something similar to the Swathi murder case. When Sathya receives his 1... (more)

Source: Srivatsan , The Hindu

A formulaic cop thriller with over the top action sequences, unnecessary heroism

The first half of the film is just a built up for a long-drawn-out climax. If Anton had made the film from an engaging script and treated it as a realistic investigative thriller without any over the top heroism, it would have worked. (more)

Source: Sreedhar Pillai, Firstpost.com

Atharvaa's cop debut packs a punch

100 is one of those films that has a solid supporting cast who put up spirited performances. But the inconsistencies in pacing and innumerable subplots put us off at times. While it is okay to have enough double-crosses to put The Departed to shame, the cramping of all these details in the last act ... (more)

Source: Avinash Ramachandran , CinemaExpress.com

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'Thangalaan': Stunning visuals and social commentary, yet missing the emotional core | Movie Review

Pa Ranjith’s Thangalaan, starring Chiyaan Vikram, was one of the most anticipated films of the year, and it’s clear that the buzz was well-deserved. Now that the film has finally arrived in theatres, it can be said with confidence that it lives up to the hype. Thangalaan is a breathtaking visual spectacle, elevated by powerful performances from its cast.

The film is set against the backdrop of a British-led expedition to unearth the gold mines of Kolar. Coloniser Clement strikes a deal with the tribe, led by Thangalaan (Vikram), offering them a share of the gold in exchange for their participation in the excavation.

Thangalaan is not just a mythical action drama; it’s a powerful narrative that tackles a significant social issue—the relentless struggle for power and the oppression of society’s marginalised. The film vividly portrays how the oppressed rise against their oppressors. Thangalaan, the central character, is a figure of immense physical strength and unyielding ambition. His deep-rooted desire to uplift his tribe drives him to make difficult choices, even if it means aligning with the very forces that seek to dominate them, all in pursuit of a better future for his people.

It is great how when a movie talks about something so serious, director Pa Ranjith weaves a mythical narrative into it making the movie more tantalising. Vikram is the undeniable heart and soul of Thangalaan, delivering a performance that is nothing short of extraordinary. As Thangalaan, he commands the screen with a potent mix of intensity and depth, fully embodying a character who is as conflicted within as he is challenged by the external dangers of his quest. Vikram doesn’t just play the role—he lives it, capturing the internal battle of a man torn between his ambitions and the harsh realities he faces. Parvathy, as Gangamma, Thangalaan’s wife, delivers a performance that is both impactful and memorable. Gangamma is far from a mere follower of her husband; she stands as a strong, independent character with her own perspective and influence within the story. Malavika Mohanan plays the role of Aarathi, and she too is fierce and powerful. Her initial few scenes as Aarathi is truly mindblowing.

Malavika Mohanan delivers a fierce and powerful performance as Aarathi, with her initial scenes being particularly striking. Cinematography by A. Kishor Kumar enhances the film, showcasing some truly remarkable visuals. While many scenes, especially those featuring lush greenery and aerial shots, are visually impressive, the sequences set in the mines could have been executed with greater finesse.

Certain parts of the movie, with their mythical elements, evoke a sense of horror, which adds a layer of fun. What’s truly impressive about the film is that it reveals much more beneath the surface. It unfolds like an onion, gradually peeling back layers to reveal deeper complexities.

The film consistently addresses caste politics, exploring the dynamics between the oppressor and the oppressed. Thangalaan's tribe is viewed with contempt by British officers, who exploit their naivety. Throughout the movie, Ranjith delivers a powerful critique of Brahminism and the Varna system. However, he maintains the tribe's dignity by not overtly favouring one side in his portrayal. The movie also explores a parallel theme of the corrupting power of greed. The relentless pursuit of gold, which drives everyone involved, including the tribe, clouds their judgment and distorts their rationality.

Ranjith addresses the issues of Brahminism and Buddhism with a balanced portrayal, presenting perspectives from both sides. Women in the film are depicted as individuals with distinct identities, rather than mere background figures. While the background score is effective, the music could have been more impactful. Given the story's intensity, stronger rhythms and beats might have been more fitting, but music director G. V. Prakash Kumar chose a folk style that, while enjoyable, lacks the power needed for the story. 

However, the film falters when it comes to establishing an emotional connection with the characters. It lacks the depth needed for the audience to fully invest in the main characters' journeys. In one particular scene, which impacts Thangalaan and his family, the intended emotional weight falls flat. The effort to create a politically correct narrative seems to have come at the expense of a strong story-driven connection.

Thangalaan stands out as one of Vikram's finest performances, offering him ample scope for acting and showcasing his skills. The first half of the film is deeply engaging, with several edge-of-your-seat moments. While the second half remains thrilling, it occasionally slows down. The climax is particularly powerful, delivering a compelling statement. Thangalaan is definitely a must-see in theatres, with its enchanting story and exceptional performances making it a spectacle that film enthusiasts shouldn't miss.

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Raghu Thatha X Review: Here's What Audiences Have To Say About Keerthy Suresh's Political Comedy Film

Raghu Thatha X Review: "Raghu Thatha" is a Tamil political comedy, marking the directorial debut of Suman Kumar, who also wrote the film. Produced by Vijay Kiragandur under Hombale Films, this marks their first Tamil production. The film features Keerthy Suresh in the lead role, with a supporting cast including M. S. Bhaskar, Ravindra Vijay, Devadarshini, Jayakumar Parameswaran Pillai, Rajeev Ravindranathan, Anandsami, Rajesh Balachandiran, and Aadhira Pandilakshmi.

Feeling so elated and privileged to have a release along side with Vikram sir, the man whose posters from Anniyan were on my study table! Wishing you @chiyaan sir , my dear @MalavikaM_ , @beemji sir, @StudioGreen2 and your team a great success for #Thangalaan ! 🤗❤️ Wishing… — Keerthy Suresh (@KeerthyOfficial) August 14, 2024

Did enjoyed #RaghuThatha . Some of the wacky ideas and the last 20 mins is a blast. Superb show #Suman , @KeerthyOfficial , #RavindraVijay , #IsmathBanu , #Anandsami and the guy who played Guptha... All the best! 🤞😀 pic.twitter.com/7pvfLKP0Bc — Karky Johnson (@karkyjohnson) August 14, 2024

Announced in December 2022, the film's principal photography began that month and was mainly shot in Chennai, concluding by mid-May 2023. The film's music is by Sean Roldan, with cinematography by Yamini Yagnamurthy and editing by T. S. Suresh.

"Raghu Thatha" released in theatres on August 15, 2024, aligning with India's Independence Day.

Raghu Thatha Premise

A young woman embarks on a transformative journey to safeguard the identity of her people and land, discovering her true self along the way.

Raghu Thatha Cast and Crew

The cast of the Tamil political comedy "Raghu Thatha" features a talented ensemble including Keerthy Suresh, M. S. Bhaskar, and Devadarshini. Joining them are Ravindra Vijay, Anandsami, Rajesh Balakrishnan, and Rajeev Ravindranathan.

"Raghu Thatha," directed and written by Suman Kumar, was produced by Vijay Kiragandur under the banner of Hombale Films. The film features cinematography by Yamini Yagnamurthy, editing by T. S. Suresh, and a musical score by Sean Roldan. The film is distributed by Red Giant Movies and PVR Inox Pictures.

The release of "Raghu Thatha" is highly anticipated, promising an extraordinary cinematic experience for all film enthusiasts. Stay tuned for insightful X (formerly Twitter) reviews as audiences share their thoughts on this political comedy film.

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Thangalaan Review: Vikram-Pa Ranjith's film drowns due to convoluted storytelling

'thangalaan' review: director pa ranjith's film starring chiyaan vikram, pa ranjith and parvathy thiruvothu, is a fantasy drama about oppression and land rights. the film is too abstract for its own good..

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• 'Thangalaan' released in theatres on August 15
• The film explores the topics of oppression, untouchability and land rights
• Directed by Pa Ranjith, the film features Chiyaan Vikram, Parvathy and Malavika Mohanan

Release Date: 15 Aug, 2024

Director Pa Ranjith is one filmmaker with a powerful voice in Tamil cinema. Whether one agrees or not, his voice is significant and cannot be ignored. When he announced his collaboration with actor Chiyaan Vikram in 2021, it excited many. And the excitement grew multifold over the years and became one of the most anticipated films of 2024. Did 'Thangalaan' manage to fulfil the expectations? Let's find out!

Thangalaan (Chiyaan Vikram), Gangamma (Parvathy Thiruvothu) and their five children live in North Arcot where they rely on agriculture. However, their land is grabbed by the upper-class landlord using deceitful tactics. In the 1800s, Lord Clement, a British General, expressed his desire to trace gold near their village. However, a local myth claims that the sorceress Aarathi (Malavika Mohanan), guards the area. Thangalaan and the rest of the villagers believe in the myth.

Director Pa Ranjith blends magical realism with themes of oppression, untouchability, and inequality. How do Thangalaan and his people fight for their rights and discover the true purpose of life? Is the myth about Aarathi true? These questions are explored over the course of two and a half hours.

Filmmaker Ranjith and his stories of oppression have a special place in history. They are evocative and raise the most important questions about one's rights. 'Thangalaan' is no different. Set in the Kolar Gold Fields, the film is about how common citizens are oppressed by the landlords initially and eventually by the Britishers. Along with the story of oppression, we get a fantasy element, headlined by Aarathi.

The plot of 'Thangalaan' seems interesting on paper. It follows the 'history repeats itself' template i.e. how ancestors fought for liberation and how Thangalaan continues to do so in his time. However, 'Thangalaan' seems to be the weakest work in director Pa Ranjith's filmography. The film's screenplay is too abstract, which might not be everyone's cup of tea. A lot relies on Thangalaan, the mythical story and his hallucinations about Aarathi.

The screenplay is slow and lacks engaging elevation sequences. Despite the brilliant performances from the lead cast, 'Thangalaan' is a disappointing watch. The tedious first half and the convoluted second half make the film a middling affair. Ranjith used sync sound, which is a major drawback, and it is hard to follow their dialect and understand their emotions.

The film's mythical story and political themes are muddled, affecting the overall impact. The visual effects are tacky and fall short given the film's large-scale production. However, composer GV Prakash Kumar’s music and background score do manage to elevate the film to an extent.

That said, there are some brilliant stretches in the film. Be it the first time when Chiyaan Vikram wears a pant-shirt or when the women in the village wear a blouse, these sequences are goosebumps-inducing. However, such moments are sporadic and not consistently present throughout the film.

Actors Chiyaan Vikram, Parvathy, Malavika Mohanan and Daniel Caltagirone do the heavy lifting with their brilliant performances. Vikram as Thangalaan is simply extraordinary, fully embodying his character. Parvathy's Gangamma is feisty, and she once again proves why she is one of the best performers we have. Malavika Mohanan and Daniel Caltagirone also give commendable performances.

'Thangalaan' is a wasted opportunity in terms of storytelling. 2 out of 5 stars for 'Thangalaan'. Published By: K Janani Published On: Aug 15, 2024 ALSO READ | Suriya gives a shoutout to Chiyaan Vikram's 'Thangalaan': This win will be huge

Thangalaan Movie Review: Even if not as sparkly this time, Ranjith’s latest film still gives you plenty to chew on

Thangalaan ( 3 / 5).

Pa. Ranjith really knows how to create a world. Never once during Thangalaan do you doubt the authenticity of its period setting—of clothes, of language, of behaviour, of the land and lives of Thangalaan (Vikram), Gangamma (Parvathy), their children, their community… I’ve long been an admirer of this filmmaker’s ability to build communities in his film, his ability to have multiple authentic people occupy a frame, and again, in Thangalaan , he shows great eye for it. Watch, for instance, how compellingly he presents Malavika Mohanan as a warrior-goddess figure.

But yes, having been raised on Bala cinema, we know that when villagers are shown to live peacefully, rather self-sufficiently, horror soon beckons. Even at the beginning of the second half, as Thangalaan sells a dream to the villagers and a song plays, I felt similar feelings of dread. And sure enough, like in a Bala film, we see these naïve, trusting people get led to a horror house. However, the fundamental difference between both filmmakers is, of course, that while Bala is a bit of a fatalist, Ranjith is a revolutionary. And that’s why the latter won’t delve too much into the  how  of the villagers’ exploitation. In a speedy montage that shows great craft, he establishes the passage of time through quick snapshots of their suffering.  Yes, yes,  he seems to be saying.  You know how they can be exploited; can we move on?

Director: Pa Ranjith

Cast: Vikram, Parvathy, Malavika Mohanan, Pasupathy

What are we moving towards though? For the longest time, I couldn’t figure out what  Thangalaan  was. For a while, the film feels like it could be the story of exploitation, and you figure that Thangalaan, perhaps, like a hero figure, will smash all the bad men and rescue them all from the labour of gold mining. But I suppose that’s a different Kolar Gold Fields story, one that we have already seen in two parts. As the first half picks up and Thangalaan and team set out on an expedition along with their British masters, Thangalaan begins to wear the garb of an adventure film. Man versus nature, as they all almost drown in a river. Man versus nature again, as a black panther threatens to halt them. In between, there’s quite a bit of magical realism as well, with Thangalaan haunted by visions, with a warrior-goddess haunting different members of his family. You see, there’s a story—or is it history turned into myth?—that has haunted Thangalaan and his ancestors for ages. For proof of the effect it has on Thangalaan, you just need to notice the trance he is in, as he finishes narrating it to his children. Ranjith toys with the delicious idea of this folk tale coming alive in Thangalaan’s life. It’s a story that has perhaps played out in the lives of his ancestors too. It’s a familiar story, you see, of sacrificing pride and identity and property, and toiling for someone else’s benefit, so you can be thrown scraps for wages. It’s a story about blood gushing out of a dying deity figure, so land can turn into gold. The meaning is not hard to grasp.

And yet, for all this meaning, as the folktale plays out in Thangalaan’s life, I asked myself why it wasn’t as emotionally powerful as it ought to be. Is it a problem with the folk tale itself and how compellingly it’s presented? Did we perhaps need to know more about how Thangalaan was affected by this story before it gets super-imposed on his life? Did we perhaps need to know more about him in the first place? In its quest to be an adventure, to go places, perhaps there isn’t enough time for the kind of intimate moments that Ranjith is so good with usually. Perhaps for that reason, Thangalaan is a strangely unaffecting film, even though the ideas are all there—and armed with incredible performances too, especially from Vikram and Parvathy (to the point of being almost distracting). While we are already aware of their general excellence, it’s still incredible to behold how comfortable they are with their physicality in this film. Vikram wearing Western clothes is sold as a mass moment but watch how carefully he never quite occupies it. Parvathy too gets a new garment at one point, and she responds to it with a sort of unabashed innocence that’s quite rare on screen.

Thangalaan feels like a potent short story stretched to fit the duration of a feature film—one about a man haunted by a short story himself, dealing with the incredible feeling of seeing it come true in his life to transformative effect. It’s almost like the origins of the great, sad gold story—almost like Ranjith is asking himself where it must have all began and what it must have taken for plunderers to gain such easy access to our wealth. But then, Ranjith also asks,  What is true wealth?   What is real gold?  Hint: Character name. Hint: Golden appearance at the end of the film. Thangalaan is a film about a search-party on the lookout for gold, yes, but it’s deep enough to launch a critique of material greed by telling us that one’s identity, one’s harmonious existence with the environment, is real wealth. This isn’t politics; this is profound enough to be philosophy.

During the Thangalaan journey, Ranjith touches upon the symbolic death of Buddhism. He speaks of the ills of Brahminism. There’s a passing line about Ramanujam and a reference to other castes being converted into Brahminism. Pasupathy hits a wonderful balance of being both comic and serious about his character, based on the needs of the film. His laughable aspiration of reaching  vaikuntam  is in stark contrast to the film’s point that heaven is possible on earth, if only we didn’t exploit land and each other—and its insight into how religion sometimes serves to distance people from reality, leaving them praying for escapist resolutions. Also, through Thangalaan , we once again see Ranjith’s takedown of reliance on leader figures for salvation. The villagers also see the pitfalls of falling prey to chasing someone else’s version of happiness.

My most favourite part of the film is how the hero, Thangalaan, takes a long time to behave like… a hero. He’s loving and naïve, sure, but his thinking is all wrong. Perhaps that’s why he’s referred to as ‘satan’ for a while. Perhaps that’s why he’s so remorseless about all the animal life he’s killing. He casually decapitates a buffalo, many snakes, and smacks a black panther about. It’s not quite befitting the compassion that a Ranjith protagonist is usually capable of (“Paravayoda gunam parakkardhu, adha parakka vidu.”). There are more traditional villains too, of course. There’s the nosy, crafty Brahmin supervisor. There’s the British leader of the expedition about whom Ranjith keeps us guessing for the longest time. Even when you expect him to reveal his true nature in the second half, he doesn’t and keeps you waiting. Among the best moments in the film is when he speaks about wanting to help the villagers and the Brahmin supervisor mistranslates his English. However, Thangalaan sees right through it—and it makes for a lovely moment. We are used to seeing many such moments across Ranjith’s filmography, mass moments that don’t come at the expense of meaning.

It's a mark of the thought—and the craft—that Ranjith puts into these films that even though I didn’t resonate as well with Thangalaan as I have with other films of his, I still think it would be a disservice to dismiss this work. It would mean a refusal to acknowledge some striking moments—like that final fight scene that seems to happen across day and night, that seems to stretch across time. The battle between an oppressor and the oppressed is, of course, one that has gone on forever. Pretty much everything this filmmaker has touched so far has turned to gold; perhaps this time, the results aren’t as sparkly. But that’s all right; you can see he’s still experimenting with form and more brazenly, the kind of stories that can be told in mainstream cinema and with a star no less. That’s its own kind of gold.