To be honest, this isn't entirely what I anticipated. I rather assumed based on the premise that it would be a straightforward thriller along the lines of 'Kahaani' (2012), or 'Article 15' (2019). It's fair to argue that the shock of the actual approach taken in 'Theeran adhigaaram ondru' maybe amplifies my more critical feelings about it, but even with that in mind, I don't think this is entirely perfect. It also needs to be said, however, that the sum total of every subjective flaw is still handily outweighed by the sheer excellence of every component part, and the whole. There are definite issues with 'Theeran' that need to be discussed, but when all is said and done this is a fantastic, invigorating action flick!
It seems sensible to first mention the less praiseworthy aspects, in part because these are more prominent right out the gate. Take, for example, the romantic subplot to which a significant and disproportionate part of the first hour is devoted. Scenes between Karthi and Rakul Preet Singh are emphasized so much as the picture begins that the "sub-" prefix almost seems superfluous, and this is even more flummoxing when set against the dark air and extreme violence that also dots the early length. Karthi and Singh are swell scene partners, and Singh specifically is very charming, but the contrast is jarring, not least as light, poppy melodies present adjacent to visions of bloody murder. Thankfully the indulgences regarding the love story are reined in over time, but the same can't be said of the major embellishments of camerawork, editing, and post-production wizardry that in no small part fashion 'Theeran' after the style of Hollywood comic book movies. Even if the visuals do similarly settle down as the runtime advances, the protagonist and title character continues to be depicted with physical prowess that reminds of American superheroes, and only to a slightly lesser extent do the chief villain or his underlings come across in the presentation as supervillains. As if all this weren't enough, the film also carries an undeniable slant of being tawdry propaganda for cops (or "copaganda," as some may say), even as it gives us scenes that pointedly accentuate why trust in police is at best misguided.
All these notable critiques dovetail into a broader detraction, which is that even when clocking in at over 150 minutes, 'Theeran' would have benefited from being longer - if only so that it didn't have to rush the material. By all means, at large H. Vinoth's direction is fantastic, as is T. Shivanandeeswaran's editing. Yet almost no story beat in the movie is allowed to manifest, breathe, and resolve of its own accord. Moments that should bear profound emotional weight are glossed over with perplexing nonchalance, the delivery of some lines is forced into a direly casual and noncommittal corner, and even the ending is so inelegantly slammed through a grinder that it seems decidedly ham-handed. If slowing the gallop to a meandering trot would have meant an action film of 3 hours or more, then that's nonetheless what should have happened. Why, as it is, the screenplay is bursting with so much content that 150 minutes hardly seems sufficient to contain it.
These are the flaws that readily stand out. This is unfortunate, because they do subtract from what the feature could have been with a slightly different tack. Nevertheless, those elements of 'Theeran adhigaaram ondru' that are done well are so superb that they quite make up for any deficiencies or peculiarities, and the movie as a whole is terrific. One runs the risk of wearing out their welcome with all the verbiage necessary to delineate the quality: where not geared toward grandiose flourishes, Sathyan Sooryan's cinematography is marvelous, crisp and vivid, and Shivanandeeswaran's editing is sharp and finely executed. Putting aside those instances that are notably heavy-handed or underwhelming, more so than not Vinoth demonstrates an experienced guiding hand as director, orchestrating shots and scenes that are often tremendously gratifying. Though the flavors of the suggested early scenes are a tad overbearing, even the bouncier, lighthearted songs penned by Ghibran are catchy in and of themselves. More than that, the themes he composed for the score are outstanding - genuinely varied, dynamic, and charged, switching at key moments from dark EDM beats, to crunchy rock riffs, to folk instrumentation, and more. For that matter, the item number is a staple of Indian cinema, and we've all seen examples that split so hard from the narrative as to break the flow of the film - but not only is "Tinga tinga" a fetching earworm, but it's woven rather fluidly into the scene writing in a way that comes across as surprisingly organic. Hats off to the producers!
But oh, we're just getting started. Hair and makeup, costume design, and set design and decoration are splendid (with special mention deserved for "Tinga tinga," too, with its choreographed dance). The very filming locations are beautiful in and of themselves, and it's a delight as a viewer to learn how much work Vinoth put into making 'Theeran' as real and authentic as possible - in his research, his writing, and the overall execution - to the point of earning praise from those involved in the real-life course of events. Fabulous artistry went into the two animations that fill a few minutes of the runtime, providing some robust exposition. If slightly overdone at times, all the post-production work is quite smart. Possibly more than anything else, though: beyond imparting a fictionalized account of all too real recent history, the chief focus of 'Theeran' is the action, and the action is phenomenal. There are some pretty incredible stunts here, showing that choreographer Dhilip Subbarayan really knows his stuff, and the fight scenes and action sequences at large are earnestly thrilling. Even if other facets of the production failed to compensate for the film's excesses (they don't), the action alone makes this well worth watching.
Factor in steady, skilled performances from Karthi, Abhimanyu Singh, Bose Venkat, and all others on hand, and the end result is a title that is distinctly self-indulgent at its worst, but is otherwise so very well made that it readily overcomes its faults. It's worth repeating that this wasn't what I expected when I first sat to watch, and I'm still a little taken aback at some of the choices that were made. Still, ultimately 'Theeran adhigaaram ondru' serves up in abundance the intense action thrills the concept promises, with unquestionable polish at every turn. Keeping in mind some unnecessary and even regrettable flair, at length this is a tremendously entertaining, satisfying picture that's well worth watching if you have the opportunity.
It seems sensible to first mention the less praiseworthy aspects, in part because these are more prominent right out the gate. Take, for example, the romantic subplot to which a significant and disproportionate part of the first hour is devoted. Scenes between Karthi and Rakul Preet Singh are emphasized so much as the picture begins that the "sub-" prefix almost seems superfluous, and this is even more flummoxing when set against the dark air and extreme violence that also dots the early length. Karthi and Singh are swell scene partners, and Singh specifically is very charming, but the contrast is jarring, not least as light, poppy melodies present adjacent to visions of bloody murder. Thankfully the indulgences regarding the love story are reined in over time, but the same can't be said of the major embellishments of camerawork, editing, and post-production wizardry that in no small part fashion 'Theeran' after the style of Hollywood comic book movies. Even if the visuals do similarly settle down as the runtime advances, the protagonist and title character continues to be depicted with physical prowess that reminds of American superheroes, and only to a slightly lesser extent do the chief villain or his underlings come across in the presentation as supervillains. As if all this weren't enough, the film also carries an undeniable slant of being tawdry propaganda for cops (or "copaganda," as some may say), even as it gives us scenes that pointedly accentuate why trust in police is at best misguided.
All these notable critiques dovetail into a broader detraction, which is that even when clocking in at over 150 minutes, 'Theeran' would have benefited from being longer - if only so that it didn't have to rush the material. By all means, at large H. Vinoth's direction is fantastic, as is T. Shivanandeeswaran's editing. Yet almost no story beat in the movie is allowed to manifest, breathe, and resolve of its own accord. Moments that should bear profound emotional weight are glossed over with perplexing nonchalance, the delivery of some lines is forced into a direly casual and noncommittal corner, and even the ending is so inelegantly slammed through a grinder that it seems decidedly ham-handed. If slowing the gallop to a meandering trot would have meant an action film of 3 hours or more, then that's nonetheless what should have happened. Why, as it is, the screenplay is bursting with so much content that 150 minutes hardly seems sufficient to contain it.
These are the flaws that readily stand out. This is unfortunate, because they do subtract from what the feature could have been with a slightly different tack. Nevertheless, those elements of 'Theeran adhigaaram ondru' that are done well are so superb that they quite make up for any deficiencies or peculiarities, and the movie as a whole is terrific. One runs the risk of wearing out their welcome with all the verbiage necessary to delineate the quality: where not geared toward grandiose flourishes, Sathyan Sooryan's cinematography is marvelous, crisp and vivid, and Shivanandeeswaran's editing is sharp and finely executed. Putting aside those instances that are notably heavy-handed or underwhelming, more so than not Vinoth demonstrates an experienced guiding hand as director, orchestrating shots and scenes that are often tremendously gratifying. Though the flavors of the suggested early scenes are a tad overbearing, even the bouncier, lighthearted songs penned by Ghibran are catchy in and of themselves. More than that, the themes he composed for the score are outstanding - genuinely varied, dynamic, and charged, switching at key moments from dark EDM beats, to crunchy rock riffs, to folk instrumentation, and more. For that matter, the item number is a staple of Indian cinema, and we've all seen examples that split so hard from the narrative as to break the flow of the film - but not only is "Tinga tinga" a fetching earworm, but it's woven rather fluidly into the scene writing in a way that comes across as surprisingly organic. Hats off to the producers!
But oh, we're just getting started. Hair and makeup, costume design, and set design and decoration are splendid (with special mention deserved for "Tinga tinga," too, with its choreographed dance). The very filming locations are beautiful in and of themselves, and it's a delight as a viewer to learn how much work Vinoth put into making 'Theeran' as real and authentic as possible - in his research, his writing, and the overall execution - to the point of earning praise from those involved in the real-life course of events. Fabulous artistry went into the two animations that fill a few minutes of the runtime, providing some robust exposition. If slightly overdone at times, all the post-production work is quite smart. Possibly more than anything else, though: beyond imparting a fictionalized account of all too real recent history, the chief focus of 'Theeran' is the action, and the action is phenomenal. There are some pretty incredible stunts here, showing that choreographer Dhilip Subbarayan really knows his stuff, and the fight scenes and action sequences at large are earnestly thrilling. Even if other facets of the production failed to compensate for the film's excesses (they don't), the action alone makes this well worth watching.
Factor in steady, skilled performances from Karthi, Abhimanyu Singh, Bose Venkat, and all others on hand, and the end result is a title that is distinctly self-indulgent at its worst, but is otherwise so very well made that it readily overcomes its faults. It's worth repeating that this wasn't what I expected when I first sat to watch, and I'm still a little taken aback at some of the choices that were made. Still, ultimately 'Theeran adhigaaram ondru' serves up in abundance the intense action thrills the concept promises, with unquestionable polish at every turn. Keeping in mind some unnecessary and even regrettable flair, at length this is a tremendously entertaining, satisfying picture that's well worth watching if you have the opportunity.