Kangana Ranaut starring THALAIVII is a well-made and well-written political saga adorned with another award-winning performance by Kangana Ranaut.


Thalaivii review {3.5 / 5} and review rating

THALAIVII is a story of a girl’s path from an outstanding heroine to an outstanding politician. The story begins in 1965. Jayalalitaa, also known as Jaya (Kangana Ranaut), is a future Tamil film actress. She was persuaded to join her mother’s profession (Bhagyashri) so that they could have a stable income. Soon Jaya gets the opportunity to star with MJR (Arvind Swami), one of the biggest superstars of Tamil cinema. MJR loves the attitude of Jaya and her fearless personality. She, meanwhile, falls in love with his good-natured nature. Both ended up working in many films together. They are considered one of the most popular jodis, to the great irritation of RM Veerappan (Raj Arjun), PA MJR. Veerappan believes that MJR’s commitment to Jaya could mean the death of the superstar. A few years later MJR enters politics and joins the DMK, led by Karunanidi (Nasar). Karunanidi wins the state election by a record margin, and one reason is that the MJR campaigned for him. The MJR, unfortunately, cannot attend party meetings. It is also more popular and it does not match Carunanidi. Both are disassembled, after which the MJR leaves the DMK. He decides to create his own political party. Veerappan advises MJR that he should stay away from Jaya before it will cause problems for him in his political career. MJR agrees. Jaya is devastated. Then the story moves 10 years forward. The MJR became chief minister for the second time. Jaya doesn’t get a lot of movies because of her age. She starts taking dance shows. One such show offered to her is a government-sponsored show in Madurai. At this event, she is once again meeting with MJR. This time MJR invites her to join his party. Jaya refuses, but returning to Chennai, the incident greatly affects her. She will soon enter politics. What happens next shapes the rest of the film.

Review of the film Thalaivii

THALAIVII is based on the book ‘Thalaivi’ by Ajayana Bala. The story of Vijaendra Prasada is remarkable and perfectly in line with the path of J. Jayalalithaa from movie star to chief minister. It is impossible to show all the major episodes, so the writer manually selected and selected the best aspects of her life. Fortunately, it pays off. The script of Vijaendra Prasada and Rajata Arora is fascinating. The film has many dramatic moments, and the authors wrote them very well to get the desired effect. However, the first half is not so powerful. Also at this time the focus is mainly on Jaya’s film travels. Rajato Arora’s dialogues are sharp. The author of the dialogues is known for his clever, whistling lines, and he lives up to expectations.

Directed by AL Vijay is very simplified and mass. The film is set in such a way that it is easy to understand for all categories of viewers. He very well identifies the characters from the beginning and complemented the film with some well-executed dramatic episodes. In the second half, he takes the film to another level. The order of burial of MGR should be noted here. This will definitely give ants on the skin. On the other hand, in the first half he is not in the best shape. Scenes are recklessly edited, as if to hastily reduce performance time. Several episodes will confuse the audience. For example, the scene where MJR is filmed by a disgruntled film producer is coming to an end quickly, and viewers will have a hard time figuring out exactly what happened. This flaw is visible in the second half. Why didn’t Jaya tell MJR that her meeting with Indira Gandhi was a success? It was a way to get revenge or something else could confuse the audience again. Finally, the Hindi version has a serious problem since the film is about a politician from the south. Most viewers in North, West and East India know about her but may not be interested in her biopic.

THALAIVII begins with a dramatic scene in the Assembly and sets the mood. Fireworks are expected from here. But then the film focuses on Jaya’s film career. Even here, the creators are doing their best to interest the audience. The Medu Wada sequence works very well. However, waiting for the beginning of her political path, she becomes restless. It finally happens in the second half, and then there’s no looking back. From Jaya, who exposes corruption in the southern food program, to Jaya, who is pursuing Prime Minister Indira Gandhi, and to her campaign to climax, A.L. Vijay keeps the film at a constant height. The order of burial is certainly not in the world, and even the previous climax and climax contribute to the mass ratio. The film ends on an exciting note.

Kangana Ranaut lives in this role and is, to put it mildly, fantastic. As a heroine of a bygone era, she is quite convincing and even as an ardent political leader, she throws out the show. In short, this is another award-winning actor, National Award winner. Arvind Swami is a big surprise. He had a very difficult role, but he copes with it without much effort. Both Kangan and Arvind compliment each other well, and their chemistry electrifies. It is also commendable how the creators reacted to the connection between Jaya and MJR. Raj Arjun is the third most important actor and has a significant screen role. For most of the film, he is constantly angry at Jaya. However, he performs his role well. His eyes talk a lot. Nasar, as expected, is quite pleasant. Bhagyashree is subtle and fit for the role. Madhu (Yanaki; wife of MJR) does not have much scope. Tambi Ramaya (Madhavan) is fair. Flora Jacob (Indira Gandhi) is fine, but Rajiv Kumar (Rajiv Gandhi) looks just like the former Prime Minister of India.

GV Prakash Kumar’s music is weak. The film would be useful if it had one chartbarter. “Chali Chali” is average at the time “Nain Bandhe Naino Se” well filmed and choreographed. “Terry Aanhon Mine” leaves no traces “Hello, Kamaal” works more thanks to visuals. The title track is the best of the share. The background score is cinematic and dramatic.

Vishal Vitaly’s cinematography is spectacular. Scenes indoors and agitation campaigns are especially filmed. Nita Lula’s costumes are glamorous and reminiscent of the clothes worn by stars and political leaders at the time. The production of S. Ramakrishna and Monica Nigotre is very detailed. The past era is perfectly restored, and they also made sure the film looks like a grand affair. Pattaman Rashid’s makeup on the spot. VFX Unifi Media is decent. Balu Salukha’s editorial office is first-class in the second half, but in the previous interval it was quite accidental.

All in all, THALAIVII is a well-made and well-written political saga adorned with another award-winning performance by Kangana Ranaut. However, the bad buzz and prolonged closure of theaters in Maharashtra will greatly affect the box office version in Hindi.

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