‘Thalaivi’ Review: Kangana, Arvind Swami Shine In Jaya Biopic, But It Could Be More Round

Being Jayalalithaa is not easy. A woman who went from being a reluctant actress to one of the most powerful politicians in the country. A woman with a checkered romance with one of the most charismatic actor-leaders in the country. A woman forever froze in our minds and hearts as a giant cut-out at Marina Beach.

For a very long time, Jayalalithaa was immortalized on screen by Mani Ratnam’s brilliant ‘Iruvar’ (1997), rivaling the friendship of M. G. Ramachandran and M. Karunanidhi, in the male-dominated politics of Tamil Nadu. His digging began with the iconic interview of Simi Garewal, who was the centerpiece of Gautham Vasudev Menon’s 2020 web series ‘Queen’, and one expected ‘Thalaivi’ to complete it.

Unfortunately, it is not in full measure. As Thalaivi, Kangana Ranaut is capable, but a lot more can be expected from the actress. For some reason, she doesn’t fully inhabit Jayalalithaa’s early days. She is far better as Amma, the politician, capable deputy who gets ahead of her boss. As a result, the initial part of the film, while colorful and grand, is reduced to a costume ball, where Ranaut and the brilliant Arvind Swamy try hard to imitate Jaya and MGR, instead of dwelling on the spirit of their characters.

And by tracing Jaya’s journey from Ammu, as the MGR character calls her to Amma, whom the people of the kingdom call her, the film reduces to Karuna, as she is called in the film, played by Nassar. The mustache-twisting villain, who memorably played the role of Annadurai in ‘Iruvar’. He doesn’t have any of the poems by Prakash Raj ‘Iruvar’, but instead refers to a funny kitty named ‘Mera Yaar’ at a party meeting – which is strange, given that the dialogues are penned by Rajat Arora. The same is true of the complex politics of the state, which is being seen through the prism of misogyny.

While this is important, it makes the film somewhat flat. Almost her entire journey is viewed only through the lens of gender, be it the sometimes obstinate way in films to make way for other heroines; Or the way she is treated by male coworkers.

That doesn’t mean the film doesn’t have its moments. Kangana is at her best when she pats her back against the wall, against officials serving stale food for midday meals, or is manipulated in the assembly, comparing herself to Draupadi and Karuna’s army as a Allows communication to begin. to the Kauravas. Raj Arjun excels as the sinister RM Veerappan, who seeks to control MGR’s life and career. “Go to see God, don’t go to Him’. A distance of at least six inches,” he says to an enthusiastic novice.

She says that for Jaya MGR is her mother, her father, her god, her mentor. For MGR, Jaya is a reminder of his past, his first wife as well as his future, due to his youth. She is also the student who learned very well from her mentor. “If you give love to your people, they will respond equally,” he says. Jayalalithaa’s tragedy was that it was perhaps the most authentic relationship of her life.