The film opens with a flurry of sharp political statements, such as: “If everyone in the nation becomes a beggar, from whom will he rob?” and “Why should the victims be scared when the perpetrators aren’t? In a democratic nation, the one on top must be scared of the one below and not the other way around.” Another memorable line proclaims, “The old man who taught me bravery also taught me that while we can use a cane to support ourselves, we must also learn when to use it to whack someone when needed.”
These potent political dialogues set the stage for actor-producer Vijay Antony’s latest venture, Shakthi Thirumugan. This ambitious political thriller initially impresses with its fantastic premise and grand execution, though its impact unfortunately diminishes over time. While some might be wary of such direct political messaging, director Arun Prabu Purushothaman’s film largely succeeds, especially in its early stages, due to strong underlying concepts and compelling screenwriting.
Vijay Antony consistently demonstrates a keen understanding of audience preferences, earning praise for his commitment to delivering engaging mainstream cinema, often with a distinctive twist. Following his 2021 political drama Kodiyil Oruvan, Antony has again partnered with a director, Arun Prabu Purushothaman, to create a film that deviates significantly from their previous work. Many viewers might be surprised to learn that the director of films like Aruvi and Vaazh is also behind the more commercial Shakthi Thirumagan.
(Image: Vijay Antony in a still from ‘Shakthi Thirumagan’)
The film’s initial pace is surprisingly fast, with Shakthi Thirumugan racing through its setup so quickly that viewers might crave a moment to absorb the intricate details. We are quickly immersed in the world of Kittu (Antony), who, under the guise of a pimp, secretly orchestrates a parallel government. His influence is so profound that he can arrange the transfer of an Inspector General of Police with just a few phone calls. Kittu assists a wide range of individuals without prejudice, from an elderly man defrauded of his life savings to a struggling swimming athlete, a judge seeking to launder illicit funds, and a party leader’s assistant aiming for professional respect.
This clandestine system thrives on mutual favors, but Kittu’s true genius lies in his ability to manipulate situations discreetly, achieving his objectives without drawing unwanted attention. The film’s crisp and efficient editing enhances this, as the audience barely has time to grasp the mechanics of his operations before Kittu moves on to his next task. Arun Prabu skillfully introduces a diverse cast of characters crucial to this world, including a heartwarming appearance by Cell Murugan in a substantial role as Kittu’s manager, Maaran. Notably, moments that other directors might linger on, such as Kittu’s romantic subplot with his wife Vembu (Trupti Ravindra), are handled with refreshing restraint by Arun Prabu.
(Image: Vijay Antony in another still from ‘Shakthi Thirumagan’)
Film Details:
Title: Shakthi Thirumagan (Tamil)
Director: Arun Prabu Purushothaman
Cast: Vijay Antony, Cell Murugan, Sunil Kriplani, Trupti Ravindra
Runtime: 157 minutes
Storyline: A clever broker, secretly running his own parallel government, confronts a formidable adversary.
The initial half of Shakthi Thirumagan offers an exhilarating experience, akin to a thrilling ride, as Kittu’s influence grows and the stakes escalate. However, he eventually oversteps, finding himself targeted by his powerful boss, Abhyankkar Srinivasa Swamy (Sunil Kripalani), a corrupt industrialist who controls numerous government officials. Kittu quickly becomes embroiled in a significant crisis – a necessary challenge for such an overachieving protagonist – leaving the audience to question his escape. Regrettably, this marks a turning point where the film begins to falter.
From this point, the screenplay loses the compelling edge and conviction established earlier. Overused tropes, such as relying on a cyberhacker to infiltrate public systems, diminish the impact. The primary issue, however, is the increasingly preachy tone. While a flashback is expected, its saturation with political rhetoric feels excessive. One can’t help but ponder if the core message could have been conveyed with the subtle, thrilling style that defined the film’s beginning. The movie, which initially respected its audience’s intelligence to discern deeper meanings, unfortunately devolves into overly explicit exposition in its second half.
To be clear, the film’s underlying message is undeniably noble: it portrays Indian society as a treacherous landscape where only the corrupt and indifferent elite truly thrive. It’s disheartening to consider the numerous intermediaries who, unlike Kittu, are solely driven by personal gain. Yet, what should have served as a concise epilogue stretches into a prolonged, overly didactic sequence. A clumsily staged sermon delivered directly to the audience becomes the final straw, causing Shakthi Thirumagan to conclude with a notably weakened impact.
During the film’s intermission, I overheard a fellow moviegoer likening the first half’s potency to classic Tamil political dramas such as Mudhalvan, Gentleman, and Indian. It’s a testament to the early promise that, with a more refined resolution for its compelling premise, Arun Prabu could have delivered the impactful political commentary that today’s Tamil audiences truly deserve.
Shakthi Thirumagan is currently screening in cinemas.
(Video: Trailer for Shakthi Thirumagan)