Thug Life

It is not prudent to use business terms for art but as this concerns mainstream commercial cinema anyway, here we are. Usually, a Mani Ratnam film promises minimum guarantee. No matter what the film has in store — it works, meanders, dips or is politically dubious — there is always something cinematic, something inspired scattered here and there. Something you can take home, something you can watch in isolation years later. A shot, a stray scene or line or exchange that we can search on YouTube long after the release of the film. Kadal has some exquisite kinetic shotmaking. Guru is magical in some of its interpersonal dynamics. Thiruda Thiruda, for all its vacuousness, is a great ride and rarely a slog. Kaatru Veliyidai at its core has a wonderful premise that is lifelike and probed with intent even if timidly. So far Chekka Chivantha Vaanam was that odd one out with hardly a Mani Ratnam stamp. But here we are: as celebrated as Nayakan is and will remain forever, Mani Ratnam’s weakest film, for now, is his second collaboration with Kamal Haasan — Thug Life.

Thug Life, also because of its such an English title, is the most unusual, borderline bizarre, film from master director Mani Ratnam’s repertoire. Add Kamal Haasan’s unique understanding of the milieu, where he oscillates between Vellu and Grandmaster Shifuji, and you have a strange film in front of you that would remind you of cinematic brilliance like The Godfather, Kill Bill and Gangs of Wasseypur. For such an artistic piece of work, it’s not easy for anyone to take a stand on whether they liked it for its distinctiveness or disliked it for the same reason! However, in between the cinema hall and my writing desk, I have decided to like it. So, from here onwards, I will be trying my best to drive home my point, even at the cost of sounding a little biased at times. It’s Mani Ratnam after all!