Produced by Madras Talkies, Raaj Kamal Films International, and Red Giant Movies, Thug Life marks the powerful reunion of Mani Ratnam and Kamal Haasan after 38 long years since Nayagan. The film stars a stellar cast including Silambarasan (Simbu), Trisha, Joju George, Abhirami, Nassar, Ashok Selvan, and Aishwarya Lekshmi.
The story follows Amaran (played by Simbu), who loses his father in a shootout and is saved by Rangaraya Sakthivel Nayakar (Kamal Haasan), who raises him like his own son. Sakthivel is a dominant gangster in Delhi, and he grooms Amaran to succeed him. When Sakthivel is imprisoned, Amaran takes charge of the empire. However, as Amaran and his team begin making decisions independently—sometimes ignoring Sakthivel’s advice—cracks begin to form. Matters escalate when Amaran learns that Sakthivel might have been responsible for his father’s death, leading him to seek revenge. Meanwhile, Sakthivel’s trust in Amaran starts to break. What happens next forms the crux of the story.
Kamal Haasan is a powerhouse performer, and Simbu matches him scene for scene. They compete not only in their characters but in sheer acting prowess. Kamal continues to excel in portraying a lover, husband, father, and mentor with depth and charisma.
Simbu shines in several key moments, occasionally even overshadowing Kamal with his intense performance. Abhirami and Trisha both deliver strong performances, supported by well-written characters. Nassar, too, plays a solid role, while others make the most of their limited screen time, understanding the weight of being part of a Mani Ratnam – Kamal Haasan film.
The film opens with a gripping 20-minute shootout sequence that’s brilliantly shot and staged, drawing viewers in instantly. Unfortunately, that excitement doesn’t last long. With the names Kamal Haasan, Mani Ratnam, and A.R. Rahman involved, expectations naturally soar. But the film doesn’t deliver the grand, compelling story one might anticipate. The plot feels predictable and dated. The screenplay lacks novelty or intrigue, functioning more as a sequence of visually stunning moments rather than a cohesive narrative.
Visually, the film is a treat. Ravi K. Chandran’s cinematography captures various timelines and Nepalese locales with stunning precision. The action choreography by Anbariv Masters is equally impressive. Rahman’s background score adds strength to certain scenes, but the Mani Ratnam-Rahman combo doesn’t live up to its legendary status here.
One major letdown is the treatment of the songs. Despite releasing nine tracks ahead of the film, most are either abruptly cut or excluded entirely. Except for Anju Vannam Poovey, which is heard in bits, the other songs barely make an appearance—disappointing fans who expected strong visual storytelling through music. Only Jinguchaa plays in full. Then why the Chinamayi and Dhee controversies.
Sreekar Prasad’s sharp editing somewhat saves the film from dragging, ensuring it stays tight.
Overall, if you enter expecting a Mani Ratnam – Kamal Haasan – A.R. Rahman's masterpiece, you're likely to be disappointed. But if you walk in viewing it as just another film, you might walk out feeling okay. Otherwise, the company takes no responsibility.
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