Thug Life

I recently watched *Thug Life*, the much-anticipated film by Kamal Haasan, and I must say it was a bold and visually rich experience that left a lasting impression. The movie, directed by Mani Ratnam, marks a significant collaboration between the two legends after decades, following their iconic film *Nayakan*. Naturally, expectations were sky-high, and while the film might not be flawless, it delivers in many important ways, particularly in terms of performances, music, and visual storytelling.

The story follows Rangaraya Sakthivel Nayakkar, played by Kamal Haasan, as he navigates through the dark and dangerous underworld. The plot carries a mix of political tension, emotional weight, and gangster drama. Although the storyline occasionally slows down and some scenes feel unnecessarily stretched, the core of the narrative remains gripping. What kept me engaged throughout the film was the depth of the characters and the layered storytelling. Mani Ratnam has a distinct way of blending personal struggle with broader societal issues, and that style is evident here too, although the emotional impact isn't as strong as some of his earlier works.

Kamal Haasan, as always, delivers a compelling performance. His portrayal of Sakthivel is nuanced and grounded, showing both vulnerability and strength. Watching him carry such a complex character with effortless grace reminded me why he's considered one of the finest actors in Indian cinema. However, I think the real standout of the film is Silambarasan TR. He brings a raw, energetic presence to the screen that perfectly balances Kamal Haasan's more composed and introspective character. It's been said that Silambarasan performed some of the major action sequences despite health challenges, which makes his performance even more commendable. Trisha Krishnan also plays her role well, adding a strong emotional element to the story, though I wish her character had been given more depth and screen time.

One of the strongest elements of *Thug Life* is its cinematography. The visuals are striking, with gritty streets, moody lighting, and well-framed action sequences that bring the gangster world to life. The cinematographer, Ravi K. Chandran, does an excellent job of creating a dark and immersive atmosphere that complements the film's tone. Each frame feels carefully crafted, which helped maintain my interest even during slower parts of the story. The production design is equally impressive, with every detail-from costumes to set design-contributing to the film's gritty realism.

A. R. Rahman's music is another major highlight. The background score adds emotional weight to critical scenes, and the songs, especially "Jinguchaa" and "Sugar Baby," stay with you even after the film ends. Rahman knows how to match his music to a film's tone perfectly, and in *Thug Life*, he creates a soundscape that is both haunting and powerful.

As for the reception, the film seems to have drawn mixed reactions. Some viewers were blown away by the performances and technical brilliance, while others felt that the narrative didn't quite live up to the hype. I can understand both perspectives. For me, while the screenplay could have been tighter and the emotional connection stronger, the overall experience was still memorable. The opening day collections were solid, reflecting the strong anticipation surrounding the film.

In conclusion, *Thug Life* may not be a perfect film, but it's a well-crafted, intense gangster drama with standout performances and rich visuals. Kamal Haasan and Silambarasan TR are both excellent, and Mani Ratnam's direction shines in many scenes, even if the pacing could have been improved. If you enjoy gritty crime dramas and appreciate strong acting and top-notch cinematography, this movie is definitely worth watching.

Let me start with a quote from Ulaganayagan Kamal Haasan himself:

"When mediocrity has been set as standard, rubbish is acceptable. Acceptable becomes extraordinary; and extraordinary becomes genius."

Yeah, Thug Life is beyond mediocrity and an undeniable career nadir for all involved!

This quote, uttered by the very man whose name graces the poster of Thug Life, serves as a cruel, ironic harbinger of what's to come. You see Kamal Haasan and Atman Silambarasan's names, and a tiny, foolish hope sparks in your heart. You think, "How can this film not be good?" And then you get this... rubbish!

It's not the absolute worst film ever made, but that quote, man, that quote just hits you in the face. All these big names, all this supposed "talent," teaming up. It should have been a novelty. Instead, it felt like some old sugar daddy ego trip between Kamal and Simbu, gushing over Trisha "Maami."

What the hell happened to Mani Ratnam? His schtick is so worn out. His movies these days have these weird, pathetic patterns, especially with the scandalous MANI affairs. Is he secretly living out his suppressed fantasies through his films?

And don't even get me started on the female characters. Trisha was total misfit, sounding like an utterly wasted side dish at a local bar. If she thinks she's ready for a gritty role like a femme fatale, or sex worker, she needs to spend some time in a beginner's acting class hit up YouTube and just study Anushka Shetty in Vaanam on repeat until she gets it. Well, Abhirami looked like she was mentally checked out.

The main reason I kept watching was, obviously, the cast. Both Kamal and Simbu are known as the godfathers of loquaciousness, reeking of solipsism (though STR has chilled out a bit lately).

My expectations were already six feet under, because I've never been a fan of Mani Ratnam's watered-down nonsense. He's made two or three decent ones, but most of his dozen-plus movies are stale, over-hyped duds. Who's keeping this guy relevant? The "elite film bros" who watch mainstream Thai arthouse or French New Wave and think anything with a "HONG SANG ZOOOOM" is KINO? He's still around because of these dumb bozos who hype him up. They're like a cult performing last rites for his career, claiming he's just "evolving."

Even the rest of the cast and crew's talent felt wasted. It was all so fake. I knew it right away from the initial scene where Nassar's daughter pregnant by some wannabe rockstar singing "liberty, liberty, liberty" like he's about to drop a Rage Against the Machine anthem? Gimme a break. Then she commits suicide, and of course, there's a Jim Morrison poster in her room. Seriously? What a poser's farewell. And these "elite bozos" think they're so cultured, flaunting their cheap bootleg shirts - Metallica, Bob Marley, Morrison, Slipknot, Linkin Park, Iron Maiden, Beatles... all that tired mainstream garbage. "Hotel California" levels of basic.

The first half fleeting moments had its moments of sanity, which were, ironically, the only good parts. Even the thematic elements in the first half felt nice, with Shakthivel (Kamal) haunted by death, betrayal, guilt. This could have been so nice if explored well. The opening B&W episode was good, a brief glimpse. And the way Amar (Simbu) tells Shakti about Mangai's marriage proposal was staged well. For a second, the first half felt good with characters brewing distrust, almost planning each other's demise. But then it just fizzled out. The callback to Cheetah's Vivegam in the interval is inevitable here.

I really wanted more dialogue-driven scenes, maybe like a real Jia Zhangke flick, not just street fight and less moco-bot mayhem. And yeah, I appreciated some of the conversations. But honestly, there was nothing deep enough to make me care about the characters or anything they were blabbering about.

The action scenes? At some points, the film seemed like WWE backyard fights coming straight out of a teenage boy's juvenile imagination. The background score was terrible, and the songs got chopped up so badly, it was annoying even to AR Rahman Kannis.

In the end, Thug Life fails at everything it tries to be. It's not gritty, shocking, real, dark, entertaining, or original. It's just Kamal and Simbu's ego trip, barely holding this sinking ship together with duct tape. This is just KUPPAI (trash)! Fed up.

Thug Life isn't a good film, unfortunately. The basic idea and characters had real potential, but it feels like they never got developed into a solid story. Instead, a bunch of random, outdated elements were shoved in, making it feel more confused than compelling.

The screenplay is dull and lifeless-not a single scene leaves an impact, and none of the character arcs feel complete or satisfying. A few songs are genuinely good... but guess what? They got edited out. The background score works in a couple of places but mostly stays below average.

Casting? A total mismatch. It honestly feels like tier-two actors would've done a better job. Even Kamal Haasan and Trisha don't really shine here. The only one who makes an impression is Aishwarya Lekshmi-and she's barely in the film. Shimbu and Trisha at least look good; their makeup department deserves a pat on the back.

The cinematography and sets are a treat, though-they clearly got the best part of the budget. But when it comes to direction, it really doesn't feel like Maniratnam was behind the camera. Maybe an assistant was calling the shots this time? The "Sugar Baby" song also feels oddly put together, and the title line seems like it was slapped on during post-production.

Overall? Not worth your time. Maybe skip it and rewatch one of Maniratnam's classics instead.

I didn't expect this from the goated combo at all. Why just why did they have to disappoint us to this extent. Ts so bad that I who had never shared a review had to vent it out right now coz it made me doubt my life's purpose and question my existence while watching this. Seriously... Never putting my trust and never getting my hopes up for any other movies anymore.

Bruh just retire ffs. Have you guys not hoarded enough? Just give way for new gen talents. That would be the biggest help Kamal and Mani saar could do to the betterment of tamil cinema. Consider it rude or whatever but I don't care. I'm too fed up. This is absolutely garbage.

Yep, this is the weakest storytelling I've ever seen in a Mani Ratnam film. Even Kadal and Kaatru Veliyidai come across as better (storytelling) efforts in comparison. What the heck happened to Kamal Haasan? Just because Vikram worked, he's decidedly gone the "action hero" route, playing roles with zero emotional depth or connect. Rangaraya Sakthivel is a cardboard cutout, and so is the entire bunch of characters that revolve around him. The actors (Simbu and Joju George, especially) try their best to rise above the wafer-thin script, offering mild hopes in the first half. But you're in for the most generic revenge-action-drama in the second.

The action blocks (choreographed by Anbariv) are not individually terrible -- in fact, there are a couple of standout attempts, such as a train station fight and a car chase that concludes at the Red Fort, which are quite exciting. ARR's score was really oscillating both ways -- solid as well as subpar (the whole snow sequence had me cringing like hell). Some of the songs are good too, like Jinguchaa, adding a little zing to the overall dull proceedings. Anju Vanna Poove is such a nice track, but the way the film incorporates bits and pieces of it in a scattered way didn't win me over.

Thug Life starts solidly, with a well-done flashback sequence presented in monochrome. The de-aging work is appreciable too; I'm almost sensing a pattern here. In films that get the de-aging process right, the rest of the VFX (like an avalanche sequence) is often so shoddy. The characterizations of Indrani (Trisha), Amar (Simbu), and Dr. Anna (Aishwarya Lekshmi) only look fascinating on the surface. Deep down, they're all one-note with a specific purpose to fulfill.

DoP Ravi K Chandran offers some spectacular frames, though sadly, the film's screenplay doesn't do justice. I'm really appalled by (National Award Winner) Sreekar Prasad's edit work in the film; there's hardly any connective tissue between scenes. Everything is simply stacked together, with no sense of emotional understanding. The larger blame definitely goes to the script (co-written by Ratnam and Haasan), but still. What was even that embarrassment of a climax? Gosh.