Thudarum story: Shanmughan, formerly a member of a stunt team in Chennai, currently resides in Pathanamthitta with his wife Lalitha and their two children, working as a cab driver. Equally valuable to him is his Ambassador car, which, when seized by the police – without any wrongdoing on his part – initiates a chain of events that impact the lives of Shanmughan’s family. How far will he go to protect what he cherishes?

Thudarum review: If you are among those who have seen director Tharun Moorthy’s debut feature Operation Java, which offered a fresh style of storytelling for the Malayalam audience, or were completely absorbed in the touching Saudi Vellakka, you would recognize that the filmmaker’s expertise lies in the nuances. His films create a sway – they allow you to develop your thoughts, form your assessments and subsequently let them go, all as part of the extensive reward of the cinematic journey. Yet when producing a film featuring a superstar like Mohanlal in the leading role, can his artistry still stand out? It’s an unwavering yes and it serves as a reward, not only for all varieties of viewers – from devoted Mohanlal enthusiasts to the family demographic, but also for the actor himself for remaining committed to a story that was introduced to him long before the pandemic.

Tharun wasn’t minimizing when he claimed that Thudarum was a family drama. Certainly, he may have concealed that it contains suspense elements, which form the significant core of the film. However, it revolves around the events that occur within a family, akin to Jeethu Joseph’s Drishyam. The main character, Benz Shanmughan, is a former stunt choreographer who now resides with his family in Pathanamthitta and makes a living as a taxi driver. His vehicle holds great value for him, just like every other member of his family. Therefore, when the police confiscate the car while he is away, he embarks on a mission to get it back – unknowingly triggering a series of events that affect his family.

The screenplay, co-written by KR Sunil and Tharun, skillfully connects these events. There’s barely any excess in the film; in fact, it’s so tightly crafted that even the scenes and characters introduced at various points in the film keep the audience engaged. The first half contains moments that make the lead cast lovable, and the writers have also used it as a chance to humorously critique Mohanlal’s dialogues, which have become material for online trolling.

But when Thudarum enters the suspense thriller realm, there’s no stopping its momentum. The rhythm is steady, and the presence of an excellent supporting cast, including ad filmmaker Prakash Varma, known for the Vodafone ZooZoo commercials, and Binu Pappu as the conniving police officers, enhances the experience further. Particularly, Prakash is a clever choice that may evoke memories of Murali Gopy's casting in Blessy’s Bhramaram. While the latter featured a deeply intense performance, Prakash's character George possesses a certain wickedness that is more innate than apparent to the outside world. The film addresses police brutality and honor killings but never comes off as didactic at any moment. It recognizes the audience it aims to attract with Mohanlal in the lead role and successfully meets those expectations at every juncture.

Mohanlal, who has been burdened by narratives that seek to exploit his star status, is given the opportunity to express his so-called ‘complete actor’ persona here, and he embraces it wholeheartedly. With a director like Tharun, who understands the emotional aspects that can resonate with the audience, Shanmughan's evolution from a passive man, even in his home environment, to someone compelled to seek vengeance is effectively depicted by Mohanlal. There’s an array of emotions—shock, rage, grief, helplessness, and ultimately, resistance—reflected in the actor’s performance of Shanmugham in the latter half. All of this is achieved without making him appear as a larger-than-life figure.

The other supporting actors, including Shobana, Thomas Mathew, Irshad, Farhaan Faasil, and Maniyanpilla Raju, have minimal screentime. Particularly Shobana, it seems, is placed in a role that doesn’t fully leverage her talent or experience, but rather exists solely for its nostalgic appeal. However, this is also the second film this year featuring a lead actor where male officers commit acts of violence against women in police stations. Was it truly necessary to highlight the character's moral ambiguity in light of prior events, even if it aimed to illustrate how duplicitous police officers can be?

Shaji Kumar’s evocative visuals contribute to enlarging the scope of the film, which ultimately revolves around a man willing to go to any lengths for what he cherishes. This idea is reinforced by the imagery of a forest and the symbolism of elephants and hunting. The visuals of Shanmughan in front of his car during a rainy night, symbolizing the arrival of death, along with him fiercely gripping a crowbar amidst an action sequence reminiscent of a sacred ritual performed by a Murugan devotee, are bound to be memorable long after you exit the cinemas.

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 allows Mohanlal to bask in a film that offers more than sufficient entertainment for the audience, satisfaction for film enthusiasts, and pride for devoted Mohanlal fans. The fact that he accomplishes this with the support of an excellent script and a remarkable performance renders it essential viewing in cinemas.

Read Also: Thudarum X Review: Tharun Moorthy’s Fan Service Brings Back the Mohanlal Fans Crave

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