‘Thalaivii’ Review: Arvind Swami killed him as MGR in Biopic Jayalalithaa who made him play Cameo

There’s one thin and equally scary little moment in Thalaivii when Jaya (Kangana Ranaut. Why) holds a press conference, and Sivaji commends Ganesan for returning to MG Ramachandran. Their advisers have now barred him from working with a star for obvious political reasons. When asked who was the better actor, Jaya.

Who would later be known for everything except diplomacy? Gives a reasonably measurable answer: Sivaji Ganesan or MGR, a straightforward question. If you’re still wondering, here’s Sivaji. At least that seems to be the rule.

But Jaya from director Vijay does what can only be described as a typical Jayalalithaa.

She is more likely to tell her manager that she is a better actress than her male counterpart. This scene lends itself to Jayalalithaa’s personal life if you just stick to the definition of “actor”.

And wonder if his legacy is the best character he has ever played. Whether he has been a “mask” throughout his personal and political life “has been worn”. You will never really know who Jayalalithaa is or rather what. Simply put, he is a mystery.

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Now political observers who don’t necessarily fit their politics or personality can agree. Perhaps he “played” as a puppet in the hands of a puppeteer. To borrow a line from Vasanji’s biography “Ama: Jayalalitaa’s Journey from Film Star to Political Queen”.

The scene, as mentioned above, can also largely be seen as a continuation of Jayalalithaa’s political career. In the male-dominated political landscape of Tamil Nadu. As it seems to thrive and succeed in raising men. The unbridled grains of sand and the tenacity of Jayalalithaa. From the cheerful amu to the fearless Ama, is a “masala” to destroy an already dramatic life. But more on the matter later.

MGR is a personality cult. Just like Jayalalithaa. Like MK Karunanidhi.

Notice how Jayalalitha is placed among the men. It doesn’t matter if she leaves the male-dominated realm of politics to become a more prominent figure in life.

The fact that she is sandwiched between men is an even more significant point. Therefore, it is not surprising that almost 3/4 of the biographical films that claim to be about Jayalalithaa have the image of a dominant MGR and party-goers. They hide their individuality so as not to get a stand-alone film.

Of course, one can say that Jayalalitha’s life can only be seen from political events. But you still look like that, right? For example, in Ama, if I’m a member correctly. Vasandi said how passionate and accommodating Jayalalithaa.

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It is for the book that questions about MGR hit a sore nerve. Which eventually led to a shadowban. Thalaivii doesn’t understand grey or white. So we wonder if Jaya is Vijay and Vijaendra Prasad (the writer) is an invention of the imagination. The version they think is them.

Thalavii began in 1989 with a scandalous encounter incident. That stripped Jayalalitha of her dignity. Which Karunanidhi calls the “black day” in Tamil politics. He vowed not to return to the congregation if not as prime minister. The Panchalian Sabbath is a part of history in our distant memory.

The film ends with Jayalalithaa’s accession to power in 1991. And it’s no wonder why Vijay chose to commercialize. This dramatic rhythm-laden timeline for viewing to viewers. It is therefore fair to say that Thalaivii is semi-biographical.

The problem with Thalaivii is not the “mass fiction” of dramatic public life.

It is a distortion of fact through fiction, rumour. Or otherwise about a relationship between two people that is never explicitly defined in public.

Even though everyone knows what it is. By treating sugar MGR and Jayalalitha’s relationship as a heartwarming “love story”. The creators give us the difficult task of guessing the possibilities and desires. This is also why we wondered. If this could or should have happened when MGR.

They feel that the scene is a discovery and, as a typical melodrama. Ends with Jaya waiting for MGR to arrive only to be informed of her death. There was a time when Jaya described her similarities with MJR.

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As the similarities of Krishna and Radha. Maybe someone is planning a lawsuit. Except for a few cursory references to Adimai Penn, Nam Naadu, and Ragasiya Police 115. The film does not attempt to bring Tamil cinema out of this period.