Thunivu movie review: An H. Vinoth film that has the courage to let Ajith be

Ajith in 'Thunivu', which released in theatres on January 11, 2023. (Screen grab from trailer)

The trouble with being H. Vinoth is that irrespective of who you work with, your reputation (cemented with Sathuranga Vettai and Theeran Adhigaram Ondru) sets certain expectations.

At heart, Vinoth is a researcher and data cruncher and he seemed to struggle with the demands of a star vehicle — he managed to fulfil it to an extent with Nerkonda Paarvai (the remake of Pink), but Valimai fell in between the cracks. With Thunivu (meaning courage), Vinoth seems to have found his mojo back. So, while this film stars Ajith, it is also a Vinoth film, backed by the one thing he genuinely loves — data. In this case, it is all financial.

After years, you finally get an Ajith film where the star is having the time of his life on screen, being mean seemingly without reason, blowing kisses at the baddies without a thought, making every scene his with a certain swag and even attempting a Michael Jackson dance step. (This portion was strangely poignant, with flashes of the late Sridevi in English Vinglish. Her husband Boney Kapoor is the film’s producer).

There’s a plan to rob a bank of Rs 500 crore and an ACP (Ajay) is the mastermind. But then, our man Ajith, looking suave with his silver hair and beard, steps in as the new villain. There’s loads of gunfire, but thankfully, very little blood, and they fight on all surfaces — land, air and water — before the film meets its logical end (stunts: Supreme Sundar).

Did you want Ajith’s character Darkdevil (or Michael — there’s a nice story there!) to trounce the bad guys? Yes, but did you want it because you were so involved with the character or because you knew it is Ajith? My answer is the latter. Samuthirakani’s Commissioner character has more gravitas than our leading man, because in the short time he’s there, you feel you know him — you know he plays by the book, you know his heart weeps when someone innocent is injured. But how did someone taken off the case, land on a boat near international waters?

With Ajith’s character, you get flashes of someone shadow-like. He does tell you they work like a family, and that KISS (Keep it simple, stupid) is their policy, but why must we feel for someone who kills for a living and loves usurping gold from those who are guarding it? There’s some hint of sentiment, but that is quickly disposed of, yet unless you feel bad for the character, why will you want that revenge story to play out? Vinoth falters again when writing emotions.

The only backstory that worked well for me was that of the bank employee played by Darshan who fights with his conscience to sell people products they don’t really need.

Manju Warrier as Kanmani, Ajith’s partner, is spectacularly wasted in a role that demands little. Manju is the kind of actress who can bring to life even a tiny crumb of emotion. She’s in GI Jane mode here, yes, but why, no one knows.

Despite all this, the film mostly works, because unlike Valimai, where the proceedings went above everyone’s heads, the issue dealt with here is relatable. The writing for the most part does not digress from the main plot point and that is a huge plus. Which is why even though the bad guys, led by the very dapper John Kokken (playing Krish), are quite paper tigers, you don’t mind, because they are financial thieves, not streetside thugs.

Vinoth takes potshots at everyone — from bankers and politicians to cops and journalists — but I’d have expected a little more sensitivity in some places. That’s because the audience laughs in places where it should be squirming. Journalist MeiPa (Mohanasundaram) and the cop Rajesh played by Bagavathi Perumal are supposed to be sleazes of the first order — but their scenes are written to not evoke disgust, but laughter. Is that the writer’s fault or the audience’s mindset, is anyone’s guess.

A transperson makes an appearance but sticks to the stereotype — when there’s the intent to be inclusive, go the whole way, no?

The main reason the film works is that Ajith seems to have sunk his teeth into it, with full gusto. He’s in his Mankatha mode here — he can be a solid gentleman in real life, but man, he makes for a very good grey hero on screen!

Nirav Shah is on a roll with his camera, which captures in detail both the claustrophobic space of bank lockers as well as the vast open of the ocean. Music by Ghibran fits the mood and will keep fans happy. Editor Vijay Velukutty keeps the proceedings that span countries tight, especially in the second half that races past.

Producer Boney Kapoor has spent his money literally like water on boats and ships, blowing up cars and a bank, and on recreating currency notes — but, shoo, no demonetisation jokes allowed, because this is a bank locker, after all!

Leaving the cinema, Ajith’s fans seemed super happy. Thala is back, they said. I’d quite agree. I really wish Ajith signed up for more films without any karuthu (gyaan or philosophy), where he can just be.