Movie Review: Thillalangadi

The character of Jeyam Ravi, Tamannah and the portrayal are as such. Editor Mohan’s and Sun Pictures’ ‘Thillalangadi’ is a ‘Friday Morning Headache’ being an ostensible entertainer. Vadivelu does what he has done so far though he elicits some laughter in the boring two and a half hours. The film is, of course, lengthy but sans a three act structure – lacks any structure or the motive behind the actions.

Purposeless and meaningless, Thillalangadi might have worked in Telugu and gave some ‘kick’ to the audience but the Telugu Film Industry is adept at making commercial flicks than their Tamil counterparts. The word ‘Kick’ makes most of the dialogues of ‘Thilalangadi’ and is overdone for us to be bored.

Each one has his own ‘mind voice’. When thoughts are expected to be portrayed as scenes, they are spoken in this film. A lot of introspection happens within each of the character where they talk to themselves for most parts of the film. The way in which the scenes are shot makes you wonder if the director was displaying any little sincerity in shooting his (remade) script.

Jeyam Ravi becomes a caricature throughout, a lead character pathetic enough to be so. When Shankar’s and Rajnikanth’s ‘Sivaji’ was released, a popular journalist on a Television Channel noted that the film degraded human values and human characters turned mere cartoons. Jeyam Ravi does all that he can in such manner and becomes almost a clown, and to top it all, he dons the make-up of a clown to disguise himself – much like the famous mole putting one in guise which was spoofed by ‘Thamizhpadam’.

‘Jeyam’ Ravi does everything for ‘Kick’ and loves Tamannah for the same. He is naturally masochistic, wanting himself, to be overpowered by Tamannah’s ‘femdom’. Tamannah’s eyes are all comatose and she cannot act in any of her films. Often she finds someone to imitate with ‘Kareena Kapoor’ in ‘Kandaen Kadhalai’ and Santosh Subramaniam’s ‘Genelia’ in this film. The previous film of ‘Jeyam’ Raja and ‘Jeyam’ Ravi was sensible enough though being a remake.

With the kind of color psychology ‘Jeyam’ Raja is undergoing, it is possible to suppose that he is fascinated by the plush colors of the neighboring state, their films and their tastes. ‘Jeyam’ Raja might taste more success, if he migrates to the neighboring State though there is a catch – Remakes cannot happen in the same language. Even relatively to his previous remake hits, ‘Thilalangadi’ is the worst of them all.

Even if it is supposed to be a comedy feature, it is not so, but for the intermittently appearing Santhanam performing the best of them all, than even ‘Vadivelu’. The problem is not with Vadivelu but with the unimaginatively written sequences. Again, dialogues did not seem to be written ‘bound’ and characters were allowed to talk whatever they could.

Tamannah cannot claim ownership of the No.1 spot as heroine with her lackluster acting and paltry screen presence. It is surprising how producers flock to her knowing her woodenness as an actress. She has found it hard to even bring about a few tears in scenes that do not make you sympathize for her. Similarly, nothing is so much remembered as you leave the theaters. The problem with this film is that the audience is taken for granted and repeated promotions are expected to fetch the audience to the theaters.

‘Jeyam’ Ravi is not an actor without talent and finesse. He performs even a clown-like caricature with appropriate expressions. It is almost seven or so years, since he started acting. Maybe, it is time for him to exit his comfort zone and try acting in experimental features, simply as he ‘can’ do so. His brother ‘Jeyam’ Raja can simply put an end to directing ‘Jeyam’ Ravi’s films.

The whole film is strewn with characters that seem to have escaped from an asylum being both hysteric and schizophrenic talking unto themselves. Prabhu and Suhasini are out of sync as the father and mother of ‘Ravi’ and Suhasini evidently shows her dissatisfaction in playing the role of ‘Jeyam’ Ravi’s mother. Wasting screen time enormously, ‘Jeyam’ Ravi, ‘Tamannah’ and ‘Vadivelu’ go on blabbering scene by scene with no real sense and purpose.

Something creative could have been substituted in the time that these scenes take place. With nothing creative and being an unimaginative piece, the abrupt ending of the film makes you ask, “Where is the climax?” as the film has neither a villain nor a climax. To top all the absurdity, ‘Jeyam’ Ravi becomes a Police Officer at the end.

‘Shaam’ isn’t any threatening and his role is similar to ‘Prithvi Raj’s role in ‘Raavanan’. Here are a few of the Verbatim uttered by the characters unnecessarily at inappropriate places, “GAME START”, “PARTNER IN CRIME”. Oh thanks! It is altogether childish and is much like words used when kids play around.

However, ‘Jeyam Ravi’ displays appropriate acting and emotions, as he smiles when a girl child is saved from death. That point of the film strikes the right chord. It is at this point that we realize that films are about apt emotions aptly executed. Although the face of ‘Jeyam’ Ravi is hidden in revelations of him being a criminal, we already know that he is the ‘Robinhood’. That point of the film also generates some interest but it is soon put to an end.

Forget the music and songs of Yuvan Shankar Raja, as there is nothing at all to be mentioned. Cinematography is not noteworthy and Editing is a blatant blunder when the comical goons remove the gold chain from ‘Vadivelu’s neck. In the long shot, it is removed and is now in the hands of the goon and in the very next close range shot, the goon is still removing the chain. Laughing out loud, by the way!

Let us move on to the other parts of the review!

Positives
Jeyam Ravi
Santhanam

Negatives
Jeyam Raja
Tamannah
No scenes worth remembering

Verdict

We don’t have any nor are we willing to disclose!. Watch it at your own risk