What Is The Movie With Toys Coming To Life.Killing People Review of Thalaivaa/Leader (Rather Talai-Vali/ Headache), a 2013 Tamil Movie Starring Vijay

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Review of Thalaivaa/Leader (Rather Talai-Vali/ Headache), a 2013 Tamil Movie Starring Vijay

Tamil AL Vijay’s Thalaivaa sparked controversy when it wasn’t released in its first week after bomb threats were received at the theater in Chennai where the film was supposed to be showing. Yet it has reached cinemas in the quaint but booming city of my native Vadodara. My bros, or rather bros, in Chennai, thought they were saved (except for that poor fanboy who didn’t in the movie of his idol Vijay (i.e. the male lead and not the director Al Vijay) See posting in Chennai. Brother, advice: there are better things worth laying down your life for)! Because this movie is a damn ridiculous piece of garbage and should be kept away from humans. Here’s another piece of advice, this time to Tamil Nadu Chief Minister Jayalalita, whom actor Vijay has approached to approve his film’s release in Chennai theaters: don’t listen to him! Instead, do it this way: set up gas chambers like those used in concentration camps in World War II, and kill an estimated 1 million people. Build a nuclear power plant at the hub of the city and leak it. You may see your name alongside Hitler’s, but if you made the worst mistake distributing this film in the city you lead, consider your precious CM seat! In the first case, you become dictator without losing your precious “kursi” (seat)…

I believe one SRK Karnan has filed a petition in the Chennai High Court claiming that the film portrays the life of his father and grandfather, two social leaders in the slum area of ​​Dharavi, Mumbai, by distorting facts and descriptions, very unflattering people like it. These two are boss and thug. His petition may be denied, but if he does file another petition claiming his ancestry is portrayed as a dumb idiot, he may win the claim. Thalaivaa is hardly a biopic. It’s also not the “people” that the film’s protagonists often claim to be. This has nothing to do with Ana, if Kanan’s claim is true, it’s based on his grandfather. Nor is it about Kanan’s father. It’s all about the goofy hero Vijay. His screen time and close-ups bear that out. He dances, makes love, sings, jokes, and whenever he has free time he does some dishum-dishum (fighting) and sarcasm to Robert Di Nero in The Godfather and Abhishek Bachchan in Sarkar/Sarkar Raj of Ram Gopal Varma A parody comes from all the dancing and romance and washing dishes.

He’s a wannabe Dada/Don. The movie itself is a wannabe godfather, a wannabe sakar, a wannabe typical indian romantic (but with a twist), and sometimes even an abcd of wannabe ( Prabhudeva’s dance films). It spends so much of its time idolizing its hero, Vijay, that it kills Anna’s character (played by Sathyaraj) pretty quickly. It soon reveals its true intentions, to be another of the countless forgettable cheesy “romance drama” cash cows that Kollywood and Bollywood have dumped on the masses. Sathyaraj, who plays Anna, is a former coolie who ends up getting justice through violence and force and becomes the protector of honest slum dwellers in Dharavi. But the movie relegates him to a shadow, a man who occasionally appears as soon as Vijay comes in, telling his son how busy he is. He plays Anna’s Melbourne-based NRI son, Vishwa, in a film that switches abruptly from serious drama to spoof comedy. Comedian Santharam joins in as Vishwa’s buddy Logu, fueling the movie’s self-destructive path, and for a while we had a sickening feeling about watching “Sarkar + Comedy.”

Entering love interest Meera (played by dark beauty Amala Paul), the film goes into “romance mode” and spends almost an hour before we exclaim “Oh my God! What happened to the original plot?!” (right at halftime before the break, so you can have the audacity to ask if you can come in after halftime and pay half the fare. I don’t recommend that as it gets worse after halftime). Vishwa and Meera compete in a dance competition and win, overcoming obstacles such as being attacked by rivals. But why are these things so important in a film about Dharavi, its people and its self-appointed leader? Why on earth did he even think of including a series of comedy skits, one about a chef who can’t cook, another about a group of single men in Melbourne craving Meera, and a third about Meera in a relationship with a scruffy-looking B -class movie star, would that be a good idea? Because they definitely don’t push the plot any further, and they last as long as Durex condoms. How ridiculous is it that a movie forgets itself, jumps from drama to comedy to romance and finally returns to kill the character of Anna, poor Anna in a car accident? Hearing Vishwa and Logu call each other ‘brothers’ every time because, you know, they’re in Melbourne and everything, it’s just so painful. Imagine hearing something like: A-“Brother…” B-“No, bro…” A-“Of course, bro” B-“Brother!”, (10x).

Twists before the second half – Meera and her father turned out to be undercover cops after visiting Mumbai with Vishwa, under the pretext of discussing Vishwa’s marriage with Meera with Anna, a man named Bhima claims to be responsible for killing Anna to avenge his father’s Murder (Ana killed a hate monger named Varadarajan Mudaliar in the past). Bhima is really a weirdo – he meditates on chanting Anna’s name (and then Vishwa’s name; actually the words chanted in meditation help with relaxation, so it’s hard to see how chanting the name of one’s villain would add to that subject hostility: weird spirituality), he sounds like a demonic cyborg, bad voice acting (he is played by Abhimanyu Singh, a pucca Punjabi puttar). Meanwhile, Vishwa spends his time channeling his inner Sylvester Stallone/Salman Khan, chasing men with brute force, or drinking bhaang and doing masti (fun). The condition of the film’s post-interval goes from trash to mess to pure atrocity. One of the songs in the movie is “Thalapathy Thalapathy”; meanwhile, you experience a lot of talai-vali (headaches). I recommend getting a CT scan after watching this movie.

If Thalaivaa is a movie of 2013, then it clearly shows that it is the dark age of Tamil cinema. This movie doesn’t deserve the controversy (controversy = publicity = ka-ching!). The multiplexes I’ve visited usually have way too many commercials. This time I want more. However, the movie takes a long time to hit the mark and still doesn’t make a difference. Now why would you sit on a pointless watch for three hours?

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