(By R.Mutharasan)
Several scenes in Thug Life evoke memories of the film Nayakan. In that classic, Kamal Haasan created an unforgettable masterpiece in Tamil cinema through his exceptional acting and Mani Ratnam’s brilliant direction. This time, another star, Silambarasan, faces against Kamal, with Mani Ratnam directing again.
Cinematographer Ravi K. Chandran delivers a visual feast, showcasing expansive snowy landscapes and camels lined up against desert vistas. Trisha returns as the glamorous heroine, continuing to charm audiences with her ageless beauty. While Iaiyaraaja crafted the music for Nayakan, now we have the great A.R. Rahman to compose the score for Thug Life. Anbariv thrillingly choreographs action scenes, and the editing bears the hallmark touch of the renowned Sreekar Prasad. With such a talented team, one would expect Thug Life to at least surpass Nayakan.
However, it falls significantly short, leaving this impression as one exits the theatre. Mani Ratnam, known for his compelling character development, disappoints in Thug Life. Character traits that feel like unnecessary insertions hinder the roles of Kamal and Simbu, detracting from the screenplay. What are those character traits? We leave it to the audience to witness for themselves!
Debates will undoubtedly rage for weeks over who stood out more in the film: Kamal or Simbu? Both actors compete fiercely in their performances. Mani Ratnam’s visual storytelling and Ravi K. Chandran’s stunning cinematography keep the movie from becoming tedious. Unfortunately, the story, screenplay, and twists offer nothing new.
From Nayakan—or even before that—we have seen countless films leveraging the same old formula: two gangster factions in conflict, police caught in the middle, a don rising to political power, police siding with one gang, and a righteous officer caught in the fray. Mani Ratnam structures Thug Life around this overly familiar backdrop, which unfortunately undermines the film. Mani Ratnam depicted the conflicts of betrayal with greater intensity and thrill in his movie Chekka Chivantha Vaanam than he does in Thug Life.
The screenplay itself suffers from lapses and confusion. For example, in the opening scene, Kamal confesses to killing Simbu’s father, yet in the climax, he denies it—raising questions in the viewer’s mind. Mani Ratnam concludes the film without providing answers.
Despite the critiques, fans will undoubtedly flock to theatres to witness what the Kamal, Mani Ratnam, Simbu, and A.R. Rahman collaboration has produced. The team has traveled extensively across India and even to Kuala Lumpur to promote Thug Life.
Ultimately, one satisfying consolation is that Mani Ratnam hasn’t completely let us down.
