Review of Thalaivaa / Leader (Rather Talai-Vali / Headache), a 2013 Tamil Movie Starring Vijay
Tamil AL Vijay's Thalaivaa has courted controversy after theaters in Chennai which to begin with meant to play the film received bomb threats, thus leading to a no-show on the first week of its release. It has however reached a cinema hall inside the old school alternatively economically mushrooming city of Vadodara, my home-town. And my brothers, or reasonably bros, in Chennai, believe yourself saved (apart from for for that poor fan-boy who devoted suicide after his idol Vijay 's (ie the lead actor and no longer AL Vijay, the director) film didn't see a release in Chennai. Bro, a word of advice: there are upper problems price giving up your life for)! For the film is this type of god-damn ridiculous piece of trash it’s going to must be saved out of human achieve. Here's every other word of advice, this time for Tamil Nadu's chief minister Jayalalitha, whom actor Vijay has approached for approving his film for Chennai theaters: don't take note of him! Instead do this: organize gas chambers just like the ones used in WW2 focal point camps and get about 1,000,000 other people killed. Set up a nuclear plant inside the hub of city and leak it. You'd nearly surely see your establish taken alongside Hitler's, however if you end up making the gravest mistake of liberating this film inside the city you lead, believe your precious CM seat taken! In the main case, you'd be a dictator and however no longer lose your precious 'kursi' (seat) …
I imagine one SRK Karnan has filed petition with the Chennai High Court alleging that the film portrays the lives of his father and grand-father, two social leaders in Mumbai's slum-ridden area of Dharavi, in a really unflattering gentle by the use of distorting knowledge and depicting the two men as dons and thugs. His petition would nearly surely be rejected, but if he does make every other one claiming his lineage is portrayed as boneheaded idiots, he'd nearly surely win the claim. Thalaivaa is hardly a biopic. Neither is it about "the parents" for the reason that protagonists inside the film frequently claim. It isn't about Anna, who if Karnan's claim is correct has been in line with his granddad. Neither is it about Karnan's father. It's all regarding the idiotic hero Vijay. His screen-time and close-up photos test this. He dances, he romances, he sings, he jokes, he does dollops of dishum-dishum (fight) and a couple of poor imitation of Robert Di Nero in Godfather and Abhishek Bachchan in Ram Gopal Varma's Sarkar / Sarkar Raj, each time he’ll get a loose time from all the dancing, romancing and dishum-dishuming.
He's a wannabe dada / don. The film itself is a wannabe Godfather, a wannabe Sarkar, a wannabe typical-Indian-romance (alternatively with twist) and every now and then even a wannabe ABCD (Prabhudeva's film on dance). It spends a large number of its time worshiping its hero Vijay, to an extent that it kills of Anna's personality (carried out competently by the use of Sathyaraj) beautiful in brief. It wastes little time to turn its true intentions of becoming every other inside the endless tick list of forgettable kitschy 'romance-drama-action' money-spinners which may well be dumped on mass audiences by the use of Kollywood and Bollywood. Sathyaraj, participating in Anna, is a former coolie who in spite of everything becomes the protector of honest slum-dwellers of Dharavi by the use of delivering justice by the use of violence and gear. But the film relegates him to a shadow, one appearing now and again to tell his son how busy he is, as soon as Vijay enters. He plays Anna's NRI son-settled-in-Melbourne Vishwa, and the film swiftly switches equipment from dead-serious drama to hokey-jokey comedy. Comedian Santharam joins in as Vishwa's excellent good friend Logu to fuel the film's path of self-destruction, and for a while we get an unappetizing in point of fact really feel of observing 'Sarkar + Comedy'.
Enter love pastime Meera (carried out by the use of dusky good looks Amala Paul) and the film enters 'romance mode', spending nearly an hour till we exclaim "Oh my goodness! What took place to the original plot? !!" (that comes correct quicker than the length, so you can be bold enough and check out to ask whether or not or no longer you can are to be had in after length and pay section the fee price ticket price. I wouldn't recommend that each as problems get even worse post-interval). Vishwa and Meera participate in a dance contest and win, overcoming hurdles like being attacked by the use of their festival. But why are these things vital in a film about Dharavi, its other people and its self-proclaimed leaders? Why on earth would he suppose along with a series of comedy sketches, one involving a prepare dinner dinner who can not prepare dinner dinner, every other a few bunch of single-men in Melbourne pining for Meera and the third involving Meera lying about her marriage with a sleazy-looking B- grade movie superstar, may also be a good idea? Because they utterly don’t anything else to further the plot, they usually final as long as durex condoms. And how ridiculous is it for a film to fail to remember itself, and jump from drama to comedy to romance and return most simple to kill of the character of Anna, poor Anna in a automobile blast? And to listen to Vishwa and Logu identify each other 'Bro' each and every single time on account of, you understand, they're in Melbourne and all, is borderline painful. Just imagine taking note of something like: A- 'Bro …' B- 'No, bro …' A- 'Of trail, bro' B- 'Bro!', (10x).
Twists quicker than the second section – Meera and her dad turning out to be undercover police once they visit Mumbai along-with Vishwa underneath the pretext of discussing with Anna about Vishwa's marriage with Meera, and a person named Bhima claiming accountability for killing Anna to avenge his father's murder (Anna had killed a hate-monger named Varadarajan Mudaliar up to now). Bhima is truly a weirdo – he meditates chanting Anna's establish (then Vishwa's; in truth the words chanted all over meditation be in agreement in recreational so it's laborious to know how chanting one's villain's establish will increase animosity towards that subject: abnormal spirituality) and he seems like an evil cyborg, credit score rating horrible dubbing (he's carried out by the use of Abhimanyu Singh, a pucca Punjabi puttar). Vishwa within the intervening time spends his time each channeling his internal Sylvester Stallone / Salman Khan, pounding men after men with brute energy, or eating bhaang and doing masti (a laugh). The state of affairs of this film post-interval turns from rubbish to muck to sheer atrocity. A track inside the film goes 'Thalapathy Thalapathy'; within the intervening time you'd be experiencing rather a large number of talai-vali (headache). I love to suggest a CT scan after observing this film.
If Thalaivaa is the film of 2013, then its a clear indication its the Dark Ages for Tamil cinema. This film doesn't deserve the controversy it's getting (controversy = publicity = ka-ching!). T he multiplex I visited usually plays moderately too many commercials. This time I wanted some additional. The movie, however, takes ages to get to some degree, and however doesn't make any have an effect on. Now why would you are taking a seat for a three hour pointless watch?
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