“If everyone in the nation becomes a beggar, from whom will he rob?” “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.” “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 powerful political statements set the stage for Vijay Antony’s latest, Shakthi Thirumugan. This ambitious political thriller, directed by Arun Prabu Purushothaman, boasts a compelling premise and grand execution, though its initial momentum unfortunately wanes. Despite some overtly direct political messaging, the film is largely supported by strong concepts and engaging screenwriting that largely holds together, particularly in its early stages.
Vijay Antony consistently demonstrates an impressive understanding of audience preferences, earning praise for his commitment to the commercial “masala” formula. He has a proven talent for selecting compelling scripts and collaborating effectively with directors to craft successful mainstream films, often adding his distinctive twist. Following his 2021 political action drama Kodiyil Oruvan, Antony has again teamed up with a filmmaker for a project that deviates significantly from their previous works. Audiences might be surprised to learn that the director of Shakthi Thirumagan is Arun Prabu Purushothaman, known for critically acclaimed films like Aruvi and Vaazh.
Vijay Antony in a still from ‘Shakthi Thirumagan’
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Special Arrangement
The film’s rapid pacing is immediately striking, with Shakthi Thirumagan hurtling through its initial setup so quickly that you might yearn for a moment to absorb all the details. We are quickly immersed in the intricate world crafted by Kittu (Vijay Antony). While seemingly operating as a pimp, he secretly runs his own parallel government, wielding influence so profound that he can even orchestrate the transfer of an Inspector General of Police. With just a few phone calls, Kittu gets things done, assisting a diverse array of people without discrimination—from an elderly man who lost his life savings to corruption, and a swimming athlete needing equipment, to a judge looking to launder illicit funds, and a party leader’s assistant striving for recognition.
This clandestine governance thrives on a network of mutual favors, but Kittu’s true genius lies in his ability to manipulate situations to achieve his goals discreetly. The film’s sharp and efficient editing style is a major asset; before you can fully grasp the intricacies of his elaborate system, the task is accomplished, and Kittu is already moving to his next objective. Arun Prabu skillfully introduces numerous characters vital to this intricate world (it’s particularly satisfying to see Cell Murugan in a substantial role as Kittu’s manager, Maaran). Moreover, the director handles moments like Kittu’s romance with his wife Vembu (Trupti Ravindra) with commendable restraint, avoiding unnecessary embellishment that other filmmakers might have indulged in.
Shakthi Thirumagan (Tamil)
The initial half of Shakthi Thirumagan is an exhilarating journey, showcasing Kittu’s steady rise and escalating stakes. However, he eventually overextends himself, landing in the dangerous sights of his formidable boss, Abhyankkar Srinivasa Swamy (Sunil Kripalani), a powerful industrialist with a firm grip on numerous central and state ministers. Kittu soon finds himself embroiled in a significant crisis — a necessary challenge for such an omnipotent protagonist — leaving the audience to ponder his escape from this predicament. Regrettably, the film begins to lose its footing from this point onward.
The screenplay unfortunately loses the sharp impact and conviction established in the first half. Conventional tropes, such as relying on a cyberhacker to breach public systems, further detract from the narrative. The primary issue, however, is the increasingly didactic tone. While a flashback is expected, its saturation with political catchphrases feels excessive. One can’t help but question if the film’s core message could have been conveyed more subtly, maintaining the sophisticated political thriller style it initially adopted. The movie that once trusted its audience to grasp nuances now resorts to overly explicit exposition in its later segments.
To be clear, the film’s underlying message is undeniably commendable: Indian society is depicted as a treacherous environment where only the corrupt and indifferent elite thrive without consequence. The thought of numerous intermediaries, unlike Kittu, who prioritize personal gain, is genuinely disheartening. Yet, what could have been a poignant epilogue instead transforms into a prolonged, overly preachy segment. A poorly staged scene delivering a sermon to the audience ultimately serves as a turning point, causing Shakthi Thirumagan to conclude on a rather weak note.
During the intermission, a fellow moviegoer aptly remarked that the first half evoked the spirit of classic Tamil political dramas such as Mudhalvan, Gentleman, and Indian. Had Arun Prabu found a more compelling resolution for his otherwise well-constructed premise, Shakthi Thirumagan could truly have been the iconic political film that contemporary Tamil audiences are looking for.
Shakthi Thirumagan is currently showing in theatres.