Thilagar Review: A Violent Lesson

Thilagar, we’re told repeatedly, is based on real events. The story takes inspiration from the bloody rivalries in the Tirunelveli belt – where ‘honour and prestige’ are valid reasons for killing someone.

It’s also perfectly natural to expect actor Dhruvva to rise to the occasion, for Thilagar is named after his character in the film. Instead, the first half is practically a paean to the alpha male that is actor Kishore’s Bose Pandian. There are countless scenes of Kishore riding that motorbike of his, complete with a handlebar moustache. And, a statuette of a tiger on its front wheel.

He is revered in the small town he calls home, and protects younger brother Thilagar from the violent life.

His status though, seems to irritate the much older Ukkirapandian no end. The villain’s name is an indication of things to come…there’s not much that doesn’t offend him. Or cause him to roar in fury.

Bose Pandian’s status makes him a target. And one day, Ukkirapandian sends the other Pandian home…on a pallet.

*****

Director Perumal Pillai leaves nothing to the imagination. Everything is clearly explained. Again and again and again. Unsurprisingly, it takes a little too long to get to the point. In a particular scene, every step taken by Kishore’s assailant is shown. Round and round they go around the temple. Then again. And again… you get the picture.

In his attempt to recreate the events as accurately as possible, Perumal succeeds. But it also makes the film very long. This route would perhaps be a welcome effort in the case of a mind-boggling script. But in this standard revenge saga, where a young man sets out to kill those who did him wrong, there’s not much that isn’t already apparent.

There’s a Neetu Chandra ‘special appearance’ in Thilagar, which causes some excitement. And, gives us ample time to google ‘African Headwraps’. No connection to the film.

*****

Rajesh Yadav’s camera work is a definite plus, especially in the second half of the film, in which Thilagar embraces his dark side. Dhruvva is earnest, that much we can see. But he is not a convincing presence onscreen.

Shorn of his youthful beard and the barely there moustache in the second half, Dhruvva exudes menace. Sporadically. The very life he was sheltered from by his elder brother, is the one he finally chooses to avenge his sibling.

The violence is raw and gory. Thankfully, most of it occurs off screen.

*****

Kannan’s work on the BGM for the film is quite good. The soundtrack is pleasant too, the song Verichu Verichu in particular. Mrudhula Basker is also in this film, and does what is expected of her. She loves the saadhu Thilagar, but runs away the minute he sheds blood. Understandable. One does wonder how a sheltered village belle could be so forward. Anumol also turns in a convincing performance, though it does border on the melodramatic sometimes.

Thilagar ends on a preachy note, as did last week’s Rajathandhiram. But here, it seems oddly fitting. An eye for an eye will make us all blind, after all.

Ironically though, one has to sit through two hours of violence to get to the ‘message’.

******

The Thilagar review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the movie. Silverscreen.in and its writers do not have an advertising relationship with movies that are reviewed on the site.