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srkriz26-blog · 4 years

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Thalapathi was released in the year 1991. At any level, it was dream-come-true project for one of those finest minds involved in their fields. Mani Ratnam, Santosh Sivan, Thota Tharani, Mammootty, Sri Vidya, Shobana, Banu Priya and of course Ilayaraja and Rajinikanth. Its a film of highest quality even to this date. I still remember watching the film in theaters and my expressions during the movie. Ok, I am fan of Rajinikanth even at that age. But this film gave me goosebumps even yesterday when I watched it on tv. One could make fun of the dialogues. Monotonous way, the dialogues are written and mouthed. But that’s a signature which has aged better over the years like all other aspects of the film.

I still wonder whether Mani could make a movie of such quality again. There are few rare phenomenons in Tamil cine history and Mani is one among them. Bhagyaraj, Balachander, Balu Mahendra and Bharathiraja were all legends no doubt. But Mani has exceeded them by making movies across generations. From Mouna Ragam to Chekka Chivantha Vaanam, he has remained relevant across ages. We speak of Martin Scorsese, Ridley Scott, Al Pacino and Tom Hanks. Remaining relevant across years, finding alignment with generations, and fulfilling the needs of eras is beyond greatness. Rajinikanth and Mani Ratnam have achieved that. I couldn’t think of anybody else. Of course we still like Ilayaraja’s yesteryear songs and scores, not the ones he composes now. But, these 2 are still on top of their game. Bagyaraj and Balachander failed big time in their last few outings. So did Barathiraja and I am never a fan of Balu Mahendra. Not to disgrace him, but I always feel his films lacked nativity to the region.

Coming back to Thalapathi, even before the movie was released, people knew its an adaptation of Karna, Duryothana friendship from Mahabharata. But everyone was excited to see the end product and how Rajinikanth would be portrayed. Mani Ratnam in one of his interviews said, he always wanted Karna to live for all he was. So did his version of Karna. Surya didn’t die in the end. I would always rate this ahead of Nayagan, not because I am a fan of Rajinikanth, but because of the industrial pressure and the quality of the end product.

Santosh Sivan

Santhosh Sivan, in one of his interviews, said collaborating with Mani Ratnam makes him explore more and challenges him to look beyond his limits. Sun and lighting is always a challenge for any photo. Throughout the movie, Rajini’s scenes would have Sunlight falling straight on the lenses. That’s one hell of a challenge. People aren’t used to visuals of shade throughout the movie. But Sivan made it a compelling case to try and succeeded. Mani Ratnam and Santosh Sivan worked together on few other movies, but this one is epic. The entire movie is shot in a different tone. The sets and locations too.

Devaraj

Playing Duryodhana and yet appealing to people as a do-gooder gangster isn’t easy. We have been taught to believe all along that, Duryodhana is a villain. Thalapathi is not about Rajinikanth and his character; Surya like other movies. Its also about Devaraj and his friendship with Surya. Their journey and confrontation with Arjun. Rajini has an unmatchable screen presence. But Mammootty was majestic. Even after 30 years people speak about Deva and Surya, mainly because of the well performed roles.

As Deva, Mammootty displays a multiple facets of his acting and body language throughout. During the scene asking Subbulakshmi’s (Shobana) to be married to Surya, he displays arrogance and ego. At the same time, after failing to convince Subbu and her father, he displays apology and gratitude, a tone of resentment.

After knowing that Arjun is Surya’s borther, he displays pride, and is ready to leave his gundaism and surrender. Even when Surya was ready to battle against his own (step)brother, Deva isn’t. It is not only Surya who owes his life to Deva. It is also vice versa.

Standout elements

Mani has sketched the character of Surya with all the ingredients of Karna; pain of being an orphan, pain of being bullied by administrators, anger arising out of the pain, being emotional towards his unknown mother, bravery and skill in battles. Rajini has the portrayed the character to perfection. To stand alongside a majestic Mammootty and to garner audiences attention towards him is a Himalayan task, not just as Rajini but as Surya. Thanks to Mani Ratnam, we got to see a different Rajini in years. Even his tone had a sense of longing. His tone was slightly different from other movies. Rajini as actor revels high on looks and performance when Jai Shankar reveals about his mother and during the revealing scene.

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When Surya comes to meet Arjun, and happens to meet Subbu, the actor in Rajini emotes the satisfaction of seeing his ex-lover beautifully through his eyes.

Thalapathi is a collective effort from all the players. It is team game. But there is one person to be appreciated just before the captain, Ilayaraja. It is not about just scoring songs. He proved that music is the language that highlights emotions.

Few instances I would like to highlight

There are multiple versions of Violin instrumentals of Sundari Kannal song used throughout. But, Raja’s greatness is measured when he uses it in the interval portion when Subbu and Surya separate. Subbu is about to get married to Arjun and Surya is already enraged when he came to know that, Deva and wife were insulted at Subbu’s house. When she depart’s we get a Violin ladden BGM resonating the lyrics நான் உன்னை நீங்கமாட்டேன் நீங்கினால் தூங்க மாட்டேன் . There is a sense of sadness and separation.

The same song is used later, when Surya meets Subbu at Arjun’s house. At a first glance, the violin track rack referring நான் உன்னை நீங்கமாட்டேன் gets played. Just before the next line நீங்கினால் தூங்க மாட்டேன், there is a pause which elevates the feel of the tune. The notes are slightly higher now. They denote a sense of lost love. But both of them have moved on. Surya is responsible now. Subbu is his brother’s wife, yet his first love. The difference in tone is obvious, conveying multiple emotions at multiple instances. Yet the tune is same.

More than the use of tones, it is the use of silence when required marks the greatness this man’s story sense and music sense. He conveys story through music.

Last but not the least, Mani Ratnam.

His reimagined version of Karna Duryodhana saga is well portrayed and visualized. Who knows, Duryodhana could have let his ego and pacified with Pandavas, had he known that Karna is their brother. To add sense and sensibility to heroism and bravery is brilliance. The collector office scene is still gun. The heroism is unparalleled.

It isn’t important, yet Mani doesn’t enclose the location of where the events unfold. Characters speak Tamil, but the setup is not even remotely close.

The scene where Deva apologizes to Surya for screwing things, Surya says nothing is important to him than Deva. Thats a touch of melodrama, but brilliantly acted by all three involved. Deva thinks he is the reason why Srinivasan rejects Surya for his daughter Subbu.

The scene where Kalyani and Surya look at a train from the temple and Kalyani’s husband knowing both of them is class. Let alone the performance and the background score, to visualize and write such a scene requires an eye of master.

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The எடுக்கவோ கோர்க்கவோ scene is very important to show Duryodhana’s trust in Karna. But in Thalapathi, Deva suspects Surya of joining hands with Arjun. Despite the suspicion, their friendship doesn’t fall off. And, he lets his ego vanish as soon he comes to know Surya decided to stay with him, rather than go with his mother. May be such a reveal, would have stopped the Kurukshetra. It is just a probability.

While Karna is ridiculed in Draupati’s swayamvara for not being a high born, Surya is also ridiculed and rejected by Subbulakshmi’s father for not knowing his origin. And Draupati marries Arjun.

Modernized Arjun is well played by Aravindsamy on his first movie. He is calm, composed and yet want to eradicate the crime lords.

At no point did Mani Ratnam disappoint Rajinikanth fans. The collector office scene is just a sample. Who would expect a rain fight introduction, a raunchy song and some evergreen mass dialogues from such a character oriented movie. The difference is, the characters are well defined and deep rooted.

Mani has also redefined masculinity through this movie. Heroes are known for vooing woman and marrying them against all odds. And how often do we get heroes who marries a widow and just doesn’t indulge in family life, but stays as a protector. While Ramayana is due to Ravana abducting Sita and Mahabharata is due to Draupati’s revenge for her insult, Surya marries the woman and accepts her daughter just because Deva asked him to. He accepts his sin of killing Padma’s husband and vows to remain as her protector throughout.

Thalapathi is a classic. It showcased that commercial movies could be made with mindfulness. It stands as one of my favourite movie.

If you feel like watching the movie check out on Youtube – https://youtu.be/XIqEeNAzxG0

Understanding the nuances of Thalapathi Thalapathi was released in the year 1991. At any level, it was dream-come-true project for one of those finest minds involved in their fields.

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