Thudarum movie review: Tharun Moorthy’s crafty, gripping thriller lets Mohanlal revel in his ‘complete actor’ avatar

Thudarum story: Shanmughan, who used to be part of a stunt team in Chennai, now lives with his wife Lalitha and their two children in Pathanamthitta as a cab driver. Equally precious to him is his Ambassador car, which when is impounded by cops – for no fault of his own – starts of a series of events that affect the lives of Shanmughan’s family. To what extent can he go to save what he loves?

Thudarum review: If you are one of those who have watched director Tharun Moorthy’s debut feature Operation Java, which presented a new format of storytelling for Malayalam audience, or was fully immersed in the poignant Saudi Vellakka, you would know that the filmmaker’s craft is in the details. His films make you sway – they let you form your opinions, make your judgments and then abandon them, all as part of the massive reward of the cinematic experience. But when making a movie with a superstar such as Mohanlal in the lead, can his craft still shine? It’s a resounding yes and it’s a reward, not just for all types of viewers – from die-hard Mohanlal fans to the family audience, but also to the actor himself for sticking with a story that was pitched to him way before the pandemic.

Tharun wasn’t underselling when he said that Thudarum was a family drama. Sure, he would have hid that it’s got suspense elements, which form the large crux of the film. But it’s about the events that happen to a family, much like Jeethu Joseph’s Drishyam. The protagonist, Benz Shanmughan, is a former stunt choreographer, who now lives with his family in Pathanamthitta and earns a living as a taxi driver. His car is precious to him, just like every other member of his family. So, when the cops impound the vehicle when he is away, he sets out to reclaim it – unknowingly, also setting off a chain of events that impacts his family.

The script, co-written by KR Sunil and Tharun, craftily ties these events. There’s hardly any flab in the film; in fact, it’s so tightly wound that even the sequences and characters that are introduced at various portions in the film, keep the audience engaged. The first half has portions that make the lead cast endearing, and the writers have also used it as an opportunity to poke fun at Mohanlal’s dialogues that have become fodder for online troll material.

But when Thudarum lands on the suspense thriller territory, then there’s no holding it back. The pace is even and having a set of brilliant supporting cast in ad filmmaker Prakash Varma, of the Vodafone ZooZoo ads fame, and Binu Pappu as the scheming police officers just make the ride even more enjoyable. Prakash, especially, is an inspired choice that would remind one of Murali Gopy's casting in Blessy's Bhramaram. While the latter was broodingly intense, Prakash's character George has a certain malevolence that is more inherent than visible to the public eye. The film touches upon police atrocities and honour killings but never becomes preachy at any point. It’s aware of the audience that it’s trying to cater with Mohanlal in the lead and it delivers at every turn.

Mohanlal, who has been weighed down by scripts that have tried to pander to his superstar image, gets a chance to unleash his so-called ‘complete actor’ avatar in this one and he revels in it. With a filmmaker such as Tharun, who is aware of the emotional elements that can trigger the audience, Shanmughan’s transformation from a non-confrontational man, even at his home, to someone who is forced to seek revenge is convincingly portrayed by Mohanlal. There’s a sense of shock, anger, sorrow, helplessness and ultimately, defiance – in the actor’s portrayal of Shanmugham in the second half. And all of this, without really trying to make him seem like a larger-than-life hero.

The other supporting cast of Shobana, Thomas Mathew, Irshad, Farhaan Faasil and Maniyanpilla Raju have limited screentime. Shobana, especially, you feel, is relegated to a role that doesn’t quite use her talent or experience, but instead is there just for the nostalgic value. That said, this is also the second film this year featuring a lead actor, where violence against women by male cops in police stations is depicted. Was it really necessary considering everything that happened before to establish the greyness of the character, even if it meant to show how manipulative cops can be?

Shaji Kumar’s atmospheric visuals help broaden the scale of the film, which is ultimately about a man capable of going to any extent for what he loves. This is hammered home by the visuals of a forest and the metaphors of elephants and hunting. The images of Shanmughan against the backdrop of his car on a rainy night symbolising the arrival of the grim reaper and that of him biting down on a crowbar in the middle of an action scene like the sacred ritual of a Murugan devotee, are sure to stand out, long after you leave the theatres.

Jakes Bejoy, who had already elevated Officer On Duty earlier this year with his excellent music, amps it up again – complementing the mood of the pulsating film that also has some gritty action scenes.

Thudarum verdict: Tharun Moorthy lets Mohanlal revel in a movie that has more than enough to keep the audience entertained, film aficionados happy and die-hard Mohanlal fans proud. That he does this with the backing with a brilliant script and a great performance make it a must-watch in theatres.