It stars Kangana Ranaut, Nassar, Bhagyashree, Arvind Swami, Jisshu Sengupta, Samuthikarani, Raj Arjun, Jisshu Sengupta, and the director is AL Vijay.
No matter the content of a Bollywood biopic, either how it is written or shot, it is seldom well done. Thalaivi doesn’t alter the situation in any way. Jayalalithaa’s life and times are explored to craft a coherent story, but it is full of nuances. As it wobbles around aimlessly, needing to find a plank to bear its weight, it tries but fails.
There is nothing more compelling than the story of Jayalalithaa, a woman of great strength and influence who became president of both a state and a party for decades. But, unfortunately, a dribble of information about her career as both an activist and a politician is condensed to a series of stilted situations intended to show Kangna Ranaut in the best light possible.
The Role of Kangana as the central character of the movie-
Kangana Ranaut stars in Thalaivi. She is an adorable and giggling wannabe movie star captivated by Arvind Swami (as MGR). Her love for him is evident to all. Nevertheless, Jayalalithaa’s mentor and co-actor truly reciprocate her feelings for romance. The film, however, cannot overcome an obstacle it created for itself. Despite the focus on love as the core of the film, the depiction of romantic fervor is strictly chaste and spot-on. An aura of purity surrounds the two towering figures of Tamil Nadu politics.
As Ranaut becomes the state’s chief minister in Thalaivi’s second half, which focuses on Ranaut’s transformation into an influential activist, she becomes the party’s “propaganda secretary.” In this scene, Kangana goes to the other extreme, becoming the opposite of the blustering woman who asserts her gender in a party dominated by men who are never content to give Jaya a fair hearing.
There is a much better exploration of MGR’s relationship with ally-turned-foe Karunanidhi(Nassar) in the film. This film deserved more recognition because of Nassar’s presence and the character’s impact on the cinematographic account of an essential era than Jayalalithaa’s struggles.
Lack of connection between the Thalaivii movie and reality-
In reality, after emerging from MGR’s shadow, Jayalalithaa determined to ensure that every man in her party would genuflect to her as long as she lived–a total reversal of the gender exclusion she suffered while under his leadership.
This lack of consistency also undermines another critical aspect of the script: the woman against patriarchy. Rajamalatha’s treatment in the state Assembly by MLAs from the ruling party is the subject of several scenes. The humiliating act of Draupadi by the evil Kauravas is linked to her humiliation, and she swears to return only once she has political power.
It contains a few excellent performances. The MGR impersonation is done well by Arvind Swami, who nails it. A compelling character emerges from Raj Arjun’s portrayal of the man who cannot bear Jayalalithaa’s closeness. Madhoo played Jaya’s mother, and Sasikala was portrayed by Poorna, who was Mira’s assistant.
It’s part of the problem with Thalaivi’s fumbling screenplay, which is further exacerbated when the spotlight isn’t on the star, who wants to return to the spotlight. In her usual earnest manner, Kangana Ranaut is a recruit going to war, but the overlong film and the leaden nature of the narrative make the film problematic. Jayalalithaa’s mind is not explored in depth by the meandering plot. Therefore, we leave the hall without gaining any insight.