Spoilers ahead…
It’s an unusual introduction for a movie with a big-ticket hero. For one, the hero gets no big-ticket introduction – not in the get-the-fans-screaming sense, considering the whistle-ready title, Thangamagan. Thamizh (Dhanush) and his friend Kumaran (Sathish) ride up to a house. Beside them, in an auto-rickshaw, are Thamizh’s mother (Raadhika Sarathkumar) and wife Yamuna (Samantha). Oh, it’s raining, which, in the movies, means one of two things: romance, or trouble. Here, it’s the latter. Thamizh is moving to a new house, and the house suggests he’s moving down in life. He’s lost his job. We don’t get the scene where he loses his job – at least, not yet. We just get the information. And Yamuna is pregnant. Again, we don’t get the scene where they discover she’s pregnant – at least, not yet. We just get the information. For most Tamil filmmakers, screenwriting is pre-emptive exposition. They say: A for… Apple. For Velraj, screenwriting is: A for… Action. A for… Anticipation. A for… And you can bloody well wait to know what happened.
I don’t want to over-praise Velraj, exactly, for his work thus far has been decidedly derivative. Thangamagan is a reworking of Velraj’s earlier (and first) film Velaiyilla Pattathari, which was a reworking of the prototypical Selvaraghavan story about a low-key loser. 7G Rainbow Colony is referenced here – in a theatre screening, in a poster. It’s referenced in the cramped living quarters where parents stuff their ears with cotton so they don’t end up listening to their son in the next room having sex with his new bride. I’d have said “making love,” but that suggests mood lighting and scented candles. Given the Selvaraghavan ethos, “having sex” seems more appropriate – it suggests sweat and humping. Then there’s the girl who points to the hickey on her neck, the fair-complexioned second hero (Adith Arun, playing Thamizh’s cousin Aravind), the fairer-complexioned out-of-one’s-league heroine (Amy Jackson’s Hema) who first snubs the hero and later finds him irresistible. Falling-in-love, in these films, is like acquiring a taste for beer. The first sip, you throw up. Keep persevering, and you’re soon calling your NRI pals: “Machi, get me some Heineken from duty-free, da.”
But within this small circle he’s drawn around himself, Velraj locates interesting tangents. He writes characters deftly, defining them with a sharp scene or line. Take Thamizh’s father (K S Ravikumar, who, apparently, is a much better actor than director). In his first scene, he dispenses advice about porn and beer. Or take Thamizh’s mother, who emotionally blackmails her son into a temple visit. These are situations from the world around us, so why don’t we see them more in the movies? One of the signs a film is working for you is how much you catch yourself smiling. I smiled a lot – in the wedding-night scene, for instance, between Thamizh and Yamuna, where she asks him why he wanted a wife and he unleashes a story that begins with a dead brother. It’s a brilliant bit of writing, as is the much-later scene where Hema (who has now split up with Thamizh) comes to stay with Thamizh and Yamuna. A man, his wife, his ex – it’s a recipe for fifty shades of awkward. But Velraj cooks up a sweet love scene. He even manages to subvert the TASMAC moment. We don’t see the drinking. We only get the aftermath, with Thamizh explaining why he needed that drink.
Even the heroines are written interestingly – I say “even,” because many films would consider their work done just by giving the hero a woman on each arm. Hema tells Thamizh that she wants a nuclear family, and we know, at once, that a break-up is imminent – the umbilical cord, after all, is to the Tamil-film hero (especially one named Thamizh) what the lasso is to John Wayne. But the film doesn’t judge Hema. She gets her say in a spirited scene where she tells Thamizh that the reason they broke up isn’t their disagreement about the parents situation, it’s that he reacted the way he did, not even bothering to hear her out. Not only does this scene make it clear that Hema isn’t the woman for Thamizh, it also hints that he’d be better off with someone like Yamuna – he’s that kind of guy. He’d prefer someone docile, without opinions, someone who’d wait by the door, worried, that he’s not home yet. I couldn’t decide whether this was an affectionate acknowledgement of a particular “type” of Indian guy – who wants Westernised looks, but not Westernised thoughts – or a kick in the balls to his kind. Yamuna, too, gets nice shades. She may be a conventional character, but her scenes aren’t always conventional. That wedding-night scene again. She says she’s hungry – but it’s not the kind of hunger that has the heroine biting her lower lip. She’s actually hungry, and she watches as Thamizh whips up an omelette.
It’s such a pity, then, that Dhanush is a big star in addition to being a damn fine actor. I don’t grudge him his stardom, but I hate it that it means the sweet, modest, eighties-style melodrama from the early scenes has to transform into a modern-day hero-worship saga, with punch lines and fights accompanied by growling electric guitars. It’s like watching Van Halen play in Vaniyambadi. Suddenly, we’re in the kind of movie where the villain is downing a dozen drinks (he wasn’t shown having so much as a beer earlier) and saying things like, “Naan jeyikka porandhavan da, nee en kitta thoakka porandhavan.” The writing, too, becomes uninspired. In a scene I couldn’t believe (given how well-written the earlier portions are), the location of a bag filled with cash is divulged, accidently, by two children who say something like, “Appa has asked us not to go into this room.” Why not just hang a sign outside the door saying “The money is inside”? But it helps that, unlike Velaiyilla Pattathari, this isn’t an us-versus-them thing. It isn’t about class differences. It isn’t a rah-rah rise over oppression. It’s still very much in the Visu-movie zone – except, maybe, you’d have to imagine the Dilip character with a Kalashnikov.
Despite the second half, I must say I am interested in whatever Velraj does next. It isn’t every day that you get an A-B-C-centre movie with so many little things you take away. The fact that Thamizh and Hema move on so practically, so matter-of-factly. The sweetly worded bit of advice from Yamuna that Thamizh should learn to enjoy the “suthi irukkara chinna chinna sandhosham.” The superb scene where Yamuna says she’s pregnant and Thamizh finds himself unable to be happy. There’s even a great comedy track, courtesy Amy Jackson. Imagine this creature from a French fashion magazine in this kind of earthy, lower-middle-class neighbourhood, saying things like naai and panni, wearing mallipoo and a thaali and participating in a valaikappu, and bursting into – you’d better be sitting down for this – Thamizhukku amudhendru paer. It’s like watching Adele in Andipatti.
KEY:
- Velaiyilla Pattathari = see here
Copyright ©2015 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Jesin A
December 21, 2015
We take breaks by watching movies and you take breaks by not watching them 😉
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Adi
December 21, 2015
Thangamagan was everything one wants in a film… It’s perfect .. The cast, story, direction, the plot twists… The punch dialogues deserves a mention too… Damn its been a while since a movie hit all the right notes
See what happens when a good reviewer isn’t around… This break might be important but you seriously can’t expect people to form their own opinions on movies BR..
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rajeshwar
December 21, 2015
This film shows strength and buisness acumen of dhanush. Made on a shoestring budget film looks like a megaserial episode. No extravagant song or fight or colossal set. he has tried to tick all right boxes to make a profitable film. samantha isnt quite suited. Amy too less spoken the better
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Ramki
December 21, 2015
My review here
https://www.facebook.com/notes/ramki-sitaraman/thangamagan-just-12-carat/10154397655933294
ThangaMagan – peril mattum 🙂
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praneshp
December 22, 2015
Dang. I really really wanted to read your comments on Amy Jackson 😦 Script had great potential, they really wasted it.
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praneshp
December 22, 2015
@Adi: Did you do what I think you’re doing, or did you really like the movie?
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sridharvisu76
December 22, 2015
HImalayas poiteengalaa…
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Ram Murali
December 22, 2015
Thanga Magan – Gun point review
By Baradwaj Rasigan
Oh, how I would have loved to have been a part of the script discussions for “Thanga Magan,” made by the team that made the wonderfully entertaining “Velaiyilla Patthadhari” (VIP). During “Thanga Magan,” I started to make a list of parallel scenes to VIP (including a cameo by the Director Velraj as a policeman again) but I needed space on my paper to take other notes. There’s even an extended shot of a Dhanush monologue here except that this was a bust.
The movie though was not a bust. It was like a 1000-wala firecracker that started bursting loudly but midway got submerged in the rain.
But one does have to respect a crowd puller like Dhanush for making us at least temporarily forget about the rains that we were submerged in. Dhanush is in half-actor, half-star mode (after all, the unofficial working title of this movie was VIP-2) but there’s something about his face and expressions that makes his performances seem completely fresh (I remember Mr. Rangan saying these words about Kamal Hassan in a review! Not drawing any parallels between Kamal and Dhanush. Or, maybe I am!) Exhibit 1: The lovely scene where a pregnant Samantha asks him to touch her tummy. He brought out the joy of a parent and the anguish of a son superbly.
The characterizations that I missed the most from VIP were that of the parents – Samudhrakani’s and Saranya’s. Here, KS Ravikumar and Radhika don’t have nearly as much to work with. It’s such a pity especially since KSR is cast against type.
During the mostly mediocre second half when cell phones were out, twitter messages (I am assuming) were flying thick and fast, I chose to tune out and hum (in my mind) “Poomalai.”
PS: No silly, not “Poomalai Vaangi Vandhaan” from “Sindhu Bhairavi.” It’s “Poomalai Oru Paavai” from the original “Thanga Magan” 🙂
I realized a few scenes into the second half that this is a wannabe WTF (Whistle Thronging Fans) movie. But when I saw the scene with the villain having visions and going nuts, I did say W T F in my mind.
Satish made me laugh. But Amy Jackson made me laugh even harder when she tried to emote in the scene at the temple. Request #1 to Casting Directors – please have heroines audition by lip syncing to “Paadariyen” (the entire song) from “Sindhu Bhairavi.” Request #2 to Casting Directors – please consider more people like Samantha who can actually speak (and even dub for themselves) in thamizh. They seem a lot more real. The lines and expressions are actually in sync with one another.
Talking of thamizh, if the hero’s name is Thamizh, are language related dialogues mandatory? Then I reminded myself that this is a WTF movie.
(Mannikavum, I must think of a thamizh version of WTF)
Is this the first ever first night scene in thamizh cinema where the hero cooks for the heroine? I shudder to think what the “Trisha Illana Nayanthara” director would have done with this scene. Velraj though finds a way to make this scene sweet.
I thought it was ridiculous that Samantha runs behind Dhanush with a tiffin box in a number of scenes, including the last scene. But this climactic scene had a rather cute finish. I guess that’s symptomatic of “Thanga Magan.” Something ridiculous keeps happening and then in steps Dhanush to save the day.
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Adi
December 22, 2015
@Praneshp
Given the choices, i hope i did what you thought i was doing because i certainly didn’t like the film.
After seeing the trailer my expectations were really low and i was kind of surprised how the film easily managed to limbo its way through.
Danush’s acting felt repetitive. The casting of Amy, Samantha (was her role alone written by Vikraman?), the antagonist wasn’t great.
Velraj has got the casting of the dads right, in both his films though. I guess with Prabhu solomon and Vetrimaran films coming up Dhanush needed Maari and this one to loosen up.
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Irfan Syed
December 22, 2015
Yes, realized you are. Have missed your neat, lean, tight writing for the past few days. Come back soon. All is forgiven. 😉
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Meghnath
December 22, 2015
Hi Baradwaj.. I was eagerly waiting for your review!!! Please get back soon to writing.. As far as i have heard, people have been lashing out at the movie and have had problems with the ‘serial like’ content and treatment. To me, its just remarkable that a hero can switch from a Maari, where every scene looked like a hero inro scene with all those slo-mos, to a Thangamagan, where the setting is completely different. I shall be watching it this week (I am a dhanush fan btw) and writing out my comments.
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SANJEEV
December 22, 2015
Thangamagan is nothing but a dubmash of Dhanush’s previous movie sans any kuthu songs… and nothing much to say about beep boy
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The Ghost Who Walks
December 22, 2015
Oh Boy, talk about a disappointing Christmas eve! (I know we are still 2 days away, but still!)
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praneshp
December 23, 2015
@Adi: agreed. I thought it was a good role for Samantha though, given her last 5-6 roles.
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Rahini David
December 23, 2015
My Review here: https://femininetosh.wordpress.com/2015/12/23/thanga-magan-review/
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chenab35
December 25, 2015
It is much better than Dilwale in my opinion. The story was decent/ good but screenplay wasn’t.
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Nambirajan
December 25, 2015
Not a review but a few pointers
1) In some scenes the background actors and set looks very explicit like a set. Seems the team has become a little complacent after VIP victory.
2) They seem to have used a let’s replace X with Y formula for this film; replacing certain actors and elements with other actors and elements. Let’s replace the mother dying in VIP with the father dying in his film. Let’s replace getting a job with regaining a job/ revenging a fathers death here etc. This replace formula hasn’t really worked. The mother’s death and the ‘pathos’ felt so real in VIP. In TM, the fathers death doesnt cause that much of an impact.
3) Though they have identified ‘What makes a son, a good son?’ as the common thread, they could have dug deeper into the same question rather than shallowly replacing around.
4) The reading between the lines- taunt and resemblances to Simbu and references to their initial love lives have been taken a little too far. Even after all this success, Dhanush still wants to demonize Simbu? VIP had explicit dialogues mocking Simbu. Now it’s implicit and read it if you can with TM.
5) Many things about VIP stuck with time. The songs, the dialogues, even that puny bike. I found myself repeatedly listening to VIP songs. Nothing sticks with TM. The magic hasn’t been recreated.
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KayKay
December 26, 2015
And the pilfering of Pa-In-Law’s film titles continues with relentless enthusiasm.
Still, this should be an improvement, as the original Thanga Magan was, barring Raja’s sublime “Rathiriyil Poothirukkum Thamarai Than Penno” quite simply dreadful.
I liked exactly half of VIP (pre-interval portions). Am hoping I can like a little more of TM.
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sravishanker1401gmailcom
December 26, 2015
Ram Murali ” Great job on the review ! Especially the Poomaalai part and the thousand wallah getting submerged (and thats the story of our lives 😦
best Ravishanker https://thezolazone.wordpress.com/2015/12/25/chennai-floods-a-cartoon-collage/ https://thezolazone.wordpress.com/2015/11/26/hollyweird-woody-allen/
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IEnjoyCommentsMore
December 26, 2015
@Nambirajan Dialogues dissing Simbhu in VIP?I seem to have missed out on them despite watching it twice & that too, in theatre no less. Or has it got to do with my lack of ability to read between the lines?
I thought this too had patched up and out pops this comment. Can Nambi or someone care to elaborate?
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Hermoine Granger
December 27, 2015
Someone wanted to satisfy the market for Visu movie heroines and came up with the bright idea to cast Amy Jackson and Samantha in these roles and locations. Not to mention the additional resume point for future TV roles and networking contacts with Raadan MediaWorks.
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Karthik
December 27, 2015
Sir add this as 21 in your list for 2015. Can’t fall in love with this but cant hate it either.
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Ram Murali
December 27, 2015
Ravishanker – thank you for your kind comment. I checked out your cartoons. They are simply astonishing. Great work. Keep going!
BR and fellow commenters – wish you all a very happy and prosperous 2016!
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sravishanker1401gmailcom
December 29, 2015
Ram Murali – Very kind of you to say so 🙂 Thanks to you and others in this whole thread of comments we must rejoice for being in the Mecca of movie reviewing. The originality and wit in each post is astounding. I’m pushing 50 so great way fro me to stay young with you folks
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sravishanker1401gmailcom
December 29, 2015
Ram Murali – I missed your review header Baradwaj “Rasigan” – Nice Doosraa !! and the Amy Jackson being asked to emote is hilarious.
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Srinivas R
January 8, 2016
I hope you are writing a review on this BR. Not that it’s a great movie but would love to know what you think of reworking the VIP formula( with less success). My views are more or less the same as Ram Murali’s review, except he seems to have liked the movie more than I did.
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brangan
January 8, 2016
Srinivas R: Just finished catching up with backlog films, so will have reviews out soon. The hero-glorification crap apart, I’m really beginning like Velraj both as writer and director.
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Sathya
January 8, 2016
BR what did you think of Selva’s Maalai Nerathu Mayakkam? Would love to read your review
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brangan
January 9, 2016
Review is up, folks.
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praneshp
January 9, 2016
@Brangan: Thanks for mentioning KS Ravikumar. He is a friend-of-a-friend’s father, seems like he wanted to be an actor first, and never got opportunities. I’ve liked in in a couple of movies now (I liked him in Sigaram Thodu too).
And Amy Jackson comedy track: nice one.
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Anand Rajaraman
January 9, 2016
Agree with every word written. Was actually waiting for your review. Was disappointed with most of the other reviews for this film, wherein it was brushed away in broad strokes (“not a patch on VIP” etc.)
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ssaiprasath
January 9, 2016
Adele in Andipaati, Van Halen in Vaaniyambadi. Haha xD
Looks like you were in the ‘zone’ while writing this one! 😀
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Harish S
January 9, 2016
isn’t Dhanush shadow writing and directing these films with Velraj as a check marker who comes in when things are moving way out of the line?
Coming to the film, i feel this team (whoever is the writer) is doing the character study part wonderfully. I wish they get a good story to start with.
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Amit Joki
January 9, 2016
BR, this review comes the closest to what I actually felt after watching Thangamagan. Yes, the hero glorification could’ve been done away with.
But I don’t think that the two children saying “intha room la olinjikkavenam” scene was uninspired writing. It was a comedy I guess.
Actually that whole scene had comical shade to it, as they stop fighting when children hover near them and continue when they disappear. The whole theatre laughed over it, so I guess it was indeed meant for a comical situation.
And hearing “…in addition to being a damn fine actor.” from an acclaimed reviewer is always pleasing to the ears for a fanatic like me.
Damn, I waited so long for your review as all other wannabes and so-called reviewers writ-off this film saying “the VIP magic wasn’t recreated” without looking into the finest intricacies amidst some flaws in the second half.
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bart
January 9, 2016
Yet again, the movie which was in my “give it a miss” list has upgraded itself to “watch once”. The power of your 😉 key strokes… Danx!
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Venkatesh
January 9, 2016
She may be a conventional character, but her scenes aren’t always conventional.
No lunchbox scenes, like the one in Mannan? 🙂
She says she’s hungry – but it’s not the kind of hunger that has the heroine biting her lower lip
Thankfully, they didn’t have sex this time around (hopefully), else we would’ve missed this wonderful ‘bit’. I don’t remember the last Tamil film that employed this lower-lip-biting scene. Looks like Tamil cinema has evolved a lot. 🙂
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Ram Murali
January 11, 2016
BR – when time permits, do read my “gunpoint review” (!), a homage to your bullet point reviews. (see comment above.)
Also, I am curious – have you enjoyed any of Visu’s work? 🙂 I am genuinely curious because you have usually referred to his movies when you are trying to evoke lack of subtlety, overt messages and melodrama.
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SANJEEV
January 11, 2016
Dhanush is a fine actor… ut the problem with him he often tries to imitate Rajinis style which is tad too irritating
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brangan
January 11, 2016
Ram Murali: I don’t hate Visu or anything. He did have his moment under the sun, and he did a type of film pretty well — until it got very repetitive.
I use him in my review here not to indicate the “lack of subtlety, overt messages and melodrama” but to hint at that mega-serial-ish type of film that Visu used to make.
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Ram Murali
January 11, 2016
BR – thanks for your response.
You wrote, “I use him in my review here not to indicate the “lack of subtlety, overt messages and melodrama” but to hint at that mega-serial-ish type of film that Visu used to make.”
–> Yep, I got that from this review. I just remembered these references below to his movies in your Pasanga-2 review (Comment 1) as well as your comment on Thalaimuraigal (Comment 2), which is why I asked.
Comment 1:
You know that dengue ad with Vivek? If someone expanded it to feature length and married it off to a Visu starrer from the 1980s, we’d get something resembling Pandiraj’s Pasanga 2.
Comment 2:
Remove the arty filmmaking and this has the subtlety of a Visu movie.
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Sreedhar
January 12, 2016
Van Halen in Vaniyambadi, Adele in Andipatti.. LOL
Most of your reviews since you cae back from vacation are full of praises. Have all the movie makers become all good or have you gone soft after a couple of weeks of Downtown Abbey?? 😛
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B Aditya Ranga
January 15, 2016
niice review
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