Had it not been a Kamal Haasan movie all the aforementioned would have been fine and very commendable. However, this is Ulaganayagan we are talking about. We walk in for the surprises and Thoongavanam has to inevitably compete against the previous edifices of actor Kamal and writer Kamal to leave a mark.
Thoongavanam is a cop thriller based on a drug deal. The crux of the movie is one night at a posh pub in Chennai. It is about the extent to which a dad would go for his son. The plot is not new but the Kamal touch makes it look fresh.
We have the kisses, the witty lines and wordplays. All female characters enjoy a healthy screen space. There is a latent message on violence against women. The intelligence of the audience is treated with utmost regard.
Whether it is a racy, edge of the seat thriller in an emotional roller coaster is best left to the judgement of every individual for the sincerity of the screenplay is bound to generate the glass is half full-empty responses.
The casting is spot on and top notch. It is a dream debut for director Rajesh M Selva.
Kamal sports a stubble and looks rugged. How else can a middle-aged, divorced cop wedded to his profession look like? Ulaganayagan is just Ulaganayagan!
Prakash Raj is BACK. The timing, wit and the nonchalance when he says 'dei veetla sollidaadha da'. The exchanges between Kamal and Prakash Raj are sheer class.
Trisha is a cop and has an action sequence with Kamal which was a treat to watch - 'Pombala pulla nu kooda paakama polandhu katitaaru Sir’. This sequence is so believable and hats-off for that. Kishore eases into his role and so does Yuki Sethu.
Ghibran's music is the spine of the movie and is the most important factor in making the movie look as real as possible. Sanu John Varghese's cinematography captures the tone of the movie properly.