PHOTOS & STILLS - GALLERY
THILAGAR MOVIE REVIEWRelease Date : Mar 20,2015
Review by : Behindwoods Review Board
Cast: Dhruwa, Kishore, Mrudhula Basker, Neetu Chandra, Poo Ram
Direction: Perumal Pillai
Screenplay: Perumal Pillai
Story: Perumal Pillai
Background score: Kannan
Dialogues: Perumal Pillai
Editing: Kola Bhaskar
Art direction: RK Vijaymurugan
Stunt choreography: G
Dance choreography: Bobby Antony, Shanthi Kumar
Blood comes at a cost and its price being more blood! Thilagar is a story of an intra-caste war, particularly between a rational man (Kishore), a prideful (Poo Ram) and their families. As losses grow on each side, so does the thirst for blood.
In a nutshell, Thilagar, which by the way is based on true events, talks about rage, pride, fear, spilled blood and the simplest way to stop bloodshed.
Kishore fits well in such rustic roles. His expertise in acting is unquestionable and he portrays the character powerfully and majestically. New comer Dhruwa comes as a happy, college going lad in the first half and scores better in the second half as a transformed man. With his hunk physique and sharp looks, he stands tall through the post interval session and pulls off the angry young man character like an expert. The rest of the casts, though appear in small portions, do well enough to support the leads.
While Kannan’s songs don’t make much impact, his background scores, particularly in the second half is very impressive.
The entire technical department takes a transformation and performs well in the post interval session. Rajesh Yadhav’s use of eagle’s eye views and close ups are very effective in the climax sequence. Editor Kola Bhaskar compliments the shots well with his slo-mos.
On the downside, Thilagar’s story is an already over-exploited one. The screenplay is designed in such a way that there is nothing to expect in the post interval. The message that the director tries to convey could have been given more importance. Instead, it appears only as a text slide during the end credits.
The quality differences in the overall making of first half and the second half are incomparably contrasting. The snail pace of the pre interval session doesn’t help the audience stay active. Visuals of the first half too don’t match the quality of the second half. The difference in the canvas of the outdoor shots, particularly the Dussehra Festival, can be easily spotted.
Overall, Thilagar is a seen before, heard before story, supported by good performances from Kishore and Dhruwa.
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THILAGAR RELATED LINKS
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