Synopsis: The relationship of Aagasaveeran and Perarasi is at stake pretty soon after their marriage. Things get out of hand when their respective families poke their noses. Can they still fix things, or will they part ways? 

Review: 

Once a wise man said: Knowing what to make a film about matters more than knowing how to make one. This phrase is pretty much applicable to filmmakers like Pandiraj, especially considering his recent work, Thalaivan Thalaivi. The film revolves around the lives of Aagasaveeran (Vijay Sethupathi) and Perarasi (Nithya ‘Menen’), whose marital relationship doesn’t seem to work at all. It tries to convince people that no matter how toxic the situation turns out, one should never opt for a divorce; it tries to guilt-trip people, especially women, into thinking that parting ways is an injustice done to men. 

Throughout the film, we see all of its characters lead Perarasi to think that she’s the troublemaker—she’s someone who often throws tantrums for no reason and makes things ‘difficult’ for men. There are also several instances where characters, with no shame, verbally abuse her. They don’t think it is wrong, and the most interesting part is that it is again women who indulge in such acts. 

Meanwhile, men in the film don’t bad-mouth others, as it isn’t a manly act—only twisting the moustache, hitching up ‘Vesti’ (a popular Tamil outfit) and picking up unnecessary quarrels is considered manly. Also, Aagasaveeran isn’t subjected to any particular abuse by the people who abuse Perarasi on a daily basis. What’s worse is that, at some point, the film victimises Aagasaveeran while villainising Perarasi—all just for standing up for herself. 

Also, whenever she decides to walk away, Aagasaveeran showers her with love (fake love bombs) and even goes to the extent of shedding tears in order to convince her to stay. Thalaivan Thalaivi doesn’t just stop with the portrayal of women as ‘complainers’. It goes beyond that by mocking the challenges they usually face while living with in-laws and in marital relationships. It even feels like the film tries to mock their entire existence! 

Should Perarasi continue staying in a space where she’s often thrown under the bus? This is the exact question that keeps echoing in our heads as we watch the film. Like, all these issues would’ve been resolved if at all the characters had listened to her. But nobody wants to do that; nobody wants to empathise with Perarasi; nobody wants to make her feel safe. They only want her to ‘adjust’ (to tolerate abuse) so that she can get along with her in-laws—so that Aagasaveeran stays happy. What’s more annoying is that all the characters shout at unbearable decibels, instead of having a productive conversation. 

Everything about this film does not feel right. Its entire premise seems to tarnish the progress we’ve made as a society. Guess Pandiraj is also heavily influenced by the myth of romantic relationships, that they are sacred no matter what. Hope we don’t get tranquillised by this propaganda; hope we remain attentive—else, we would be dictating what a couple should do in their private lives and how a woman should behave! 

The Final Verdict? 

In simple words, Thalaivan Thalaivi is nothing but a bundle of regressive, disgusting ideas wrapped in a gold foil, served on a gold plate! It is living proof that not everything glitters is worth watching.