‘Thug Life’ Movie Review: Kamal Haasan’s fiery performance on one side, Mani Ratnam’s gangster drama shooting blank

Kamal Haasan still from ‘thug life’. Photo Credit: Special Arrangement

When Mani Ratnam returns to an autism in a style, he is known for, with a mavric multihaifate like Kamal Haasan, expectations are naturally high; The worst result can guess a film that works but does not necessarily redefine the style. Rarely you will expect thug LifeWhich feels like a Mani Ratnam-Ish film, which gave the mainstream compulsion to be a Tamil Potobile of modern times. An elderly gangster’s love, luck, crime and death with an elderly gangster attempted a 163 -minute chronicle, thug Life There is a gangster crime drama in which it is so common and cool that you may be surprised if it was actually a filmmaker.

Given his repeated different filmmaking style, you cannot help, but in Mise-en-Scène for a certain mani Ratnam-esk quality, the shots of a young boy are running in a frame gateway to a chawl, and later, standing there, drowned in the early parts of the film. The sheer promise that glows through the first twenty minutes is also difficult to remind either. In 1994, we begin in a scene of the grand monochrome. A police shootout is in a chawl in Old Delhi, where gangster Rangaraya Sakathivale (a D-Ayu class lotus) and their chieftains-Manikam (Nasir), Pathroz (Jujee George), Ambarj (Bagwati Perumal) and co-co-co -med have been gathered. In a tragic turn of events, one of the men of Sakathivale inadvertently kills a newspaper seller (Alango Kumaravel), causing his two children to be orphaned.

Going through his death, Sakathivale adopted his son, Amar, and promised to find his sister, Chandra, who disappeared in that commotion after this episode. With AR Rahman puncturing the ‘Anju Wana Puve’ score with silent, the sequence hangs on your heartbeat. This is the place where the story of this story lives, and it is the pulse of the statement that you expect from Mani Ratnam’s school of film production. It is also that you walk as a scene from 2016 to portray the Life of CEAthivale – his tender moment with his wife Jeeva (Abhiram); His lust for his mistress Indrani (a weak Trisha); Summer shows immortal (a restrained Silambaron TR); Their enmity with their nemesis means and the problem is that it sprouts as a replacing brother -in -law Deepak (Ali Fazal); And a silent thirst for power that is growing among his men. unfortunately, thug Life In a hurry, he winds his way, unwanted for that powerful crux.

The film shares at least six similarities with Kamal and Mani’s prestigious 1987 gangster crime drama Naikan Like a daughter-in-law’s moral compass, a police officer’s discovery to clean the city and her marital life, a grandson, named after Sacarvalel Nicker, and a son adopted by the weight of a sin makes a son-and it only makes the flaws more clear in the modern style. Both films detect the subjects of crime, morality and destiny, but thug Life The story does not bother itself with selling emotional beats of the story. It seems that to complete modern, impatient audiences, to create strong characters with human drama and clear mutual dynamics, but not to be a burden to create a grand stroke with action sequences.

Perhaps this is why the dialogue is allowed to give the necessary backstory, such as the equation, weak and uneven of the convenience with Manikam; You must necessarily remember some crowded moments between Manikam and Amar to achieve a wide understanding of the previous dynamics with the latter and with Sakshewel. You wonder how Sakshi met Indrani, the scene was not even in a dialogue. Attractively, the same film suggests what more space could have been to feel these emotional beats. The arc of Jeeva with Sathi is excluded luxurious; Again, the dialogue tells you how they meet, those who share the unspecified bond (“Kuthi Pesra Na Azugaya Ulla Vichikutu Irukka Nu Arthham,

Kamal Haasan still from ‘thug life’. Photo Credit: Special Arrangement

It is a film that hardly takes anything to breathe, and for such a drama, any scope is traded to pull pieces of action sets. A certain car pursuing view, while it can prove necessary for a large plan of things, more than its reception. Why this inclination in the direction of making the film action-hawi, why the scene of a fight in which Sakthivedel powers do nothing through a powerful sedative, except that you remind you of another such fight scene VikramWhere Kamal’s character had to fight henchmen without any noise.

In addition, it also does not help that the film fails to add more to its archaic fighting at the center of the film and to the throne struggle. Subplots and layers are purely added to convenience, like a character that returns to climax to serve a small purpose. You also feel bad for Silambarson because Amar never comes in himself or moves beyond the conspiracy he needs to do. A lion part of the screen space is given to the lotus, and the veteran plays his role as an aging person, who fights the god of death-it is in more soft moments such as the above view with Abirami, or on many face-to-face roofs and rocks. But is he really feeling the weight of his actions or questioning his morality because we once knew that we once knowed? The decision is still out.

As many recent Mani Ratnam has been with films, songs have restraint convenience and still feel somehow that it is Rahman who is working to take everyone heavy in selling emotions. Touched as one of the biggest Tamil films of the year, thug Life Best production claims design and striking cinematography.

However, despite a master filmmaker in the hull, all the star power in its arsenal and the right material to create a major modern gangster drama, it makes you grope in darkness for your heartbeat heart.

Thug life is currently running in theaters