‘Thangalan’ movie review: Ambitious Pa. Ranjith and majestic Vikram aim to win the gold medal but settle for less

One of these Thangallan’s The more memorable scene is where the main protagonist hero, previously seen wrapped in only a loincloth, arrives on horseback with a gun, wearing shirt, trousers and even suspenders, to return the money owed to a willing landowner and save his family from slavery. Besides being arguably the best scene in the film and potentially earning praise from Quentin Tarantino Django UnchainedPa. Ranjith has summed up the core idea of ​​the film in a single scene. Thangalan There are several important segments… where Ranjith’s blunt, relevant politics and superb acting add to the charm. But whether they work together is a different question; the sheen fades at times.

What sets filmmakers like Ranjith apart, especially from others who try to push diametrically opposite politics using the same medium, is his command over art and his use of metaphors and allegories as tools to express his anger against social issues. Madrassomeone’s identity Kabalioutcome BlackProud Sarpatta Parambaraia piece of farmland Dhammam (suffering) or topic of conversation Natchathiram NagargiradhuIn ThangalanRanjit continues his fight against oppression.

In the village of Veppur in North Arcot around 1850 AD, a group of tribals, unable to handle the greedy nature of a rich landlord, hastily send Thangallan (Vikram) and a few others to search for gold with British General Clement (Daniel Caltagirone). Their ancestors had discovered gold during the reign of kings, and despite the prospect of moving into territory controlled by a sorceress Aarathi (Malavika Mohanan) willing to shed blood to secure the wealth of the land, the men set off in the hope of a better future. As expected, there is more to it than meets the eye and it is up to Thangallan to save his people and, of course, live up to his name as the Son of Gold.

On paper, Thangalan It could have been a lovely story of a man and his people standing up for themselves against all odds and people who have stood in the same place for generations. But at its core, it is a story of a person’s search for his true identity. While the clan gets its answer only in the last shot of the film, Ranjith and his co-writers have included many interesting characters in the film trying to find their identity.

Thangallan is troubled by his dreams and wants to lead a better life for his family; his wife, Gangamma (Parvathy Thiruvothu) is the pillar of the family; Pasupathi is a self-anointed Brahmin who hopes that a thread and “dietary restrictions” can get him a ticket to Vaikuntham; and then there is the British general whose life depends on what he digs up in the Indian soil. Their search for identity ends only when their search for gold ends, and that is easier said than done.

Biggest pillar of support Thangalan Vikram and his co-stars are worthy. The veteran actor gives his best every time and it is the same here; as a leader who suffers inner turmoil but has to stay calm, he nails his role with his mannerisms and expressions. Comparatively, the rest of the cast has little to do but seasoned actors like Parvathy and Daniel play their roles to the hilt. A pleasant surprise on the acting front comes from Malavika as Aarti and this is undeniably her best role in Tamil. Shedding every inch of arrogance, the lead and the cast have undoubtedly given their all for this enterprising project.

Behind the camera, it is not surprising that Ranjith looks different and this is both a compliment and a complaint. Another great scene – which only someone like the filmmaker could have done – is when the women of the village finally get their own blouses. An extension of the politics of clothing, which he voiced with Puyal Black or with the title character KabaliIt’s a fascinating scene, made all the more captivating by strong acting.

On the other hand, apart from GV Prakash’s score, this film, which deserves a technically strong crew, succumbs to the lack of budget. The VFX look shoddy and the biggest culprit is the use of sync sound. Not only does it make the vocals difficult to understand, but it also kills the immersive feel required for a film of this genre and ambition. The writing also lacks depth and gives us little room to establish emotional connect. The momentary gains, huge losses and the trials and tribulations faced by the protagonist and his clan don’t land with the required impact to make us cheer for them.

A scene from ‘Thangalan’

Speaking of style, the fact is that Thangalan Reminding us of many films – mostly better in quality – doesn’t help either. It feels like if a village is being caged to work in a new land StrangerMagical realism once criticized but now brings back memories of cult-classics Aayirathil OruvanThe film’s broad portrayal of how the oppressed people of that era found it better to live at the mercy of the British, who offered more respect and a better standard of living than the upper-caste landlords and regional rulers, seems exaggerated as we have seen something similar in the recent past. Captain Millerearlier this year.

ThangalanLike Ranjith’s previous works, this one has a lot to offer for those who have the ability to shift their vision and understand and interpret the various contexts and ideologies expressed on screen. The filmmaker’s most ambitious project to date has everything we love about him: symbolism, idols, animals, common people standing up against their oppressors, stunning visuals and exemplary performances. But for those looking for an interesting story directed by Vikram – who is fresh off the success of the film Ponniyin SelvanMovies — Thangalan Ultimately, it’s disappointing.

Like the Japanese art of Kintsugi, where broken pottery is mended into gold, it is Vikram and Ranjit who almost put together this shattered vessel that promises to find a pot of gold at the end of the rainbow, but has too many cracks in its golden armour to protect itself.

Thangalan is currently running in cinemas