‘Thug Life' director Mani Ratnam calls Mollywood the best industry today: 'It's setting the bar high'
(Picture Courtesy: Facebook)
Veteran filmmaker
Mani Ratnam
, known for cinematic classics like 'Thalapathi', 'Nayakan' and many more, has heaped praise on the Malayalam film industry, calling it the 'best industry in current times.'
In a recent conversation with Manorama News, the director admired the consistent rise of talent and strong writing emerging from Mollywood, stating that the industry is 'setting the bar high' for others to follow.
Mani Ratnam applauds Malayalam cinema's rising excellence
'The writers are fantastic, and newer talents keep coming up with amazing films,' Mani Ratnam said, expressing admiration for Mollywood's ability to remain fresh and innovative. He emphasized that Malayalam cinema continues to inspire other industries with its creativity and strong narratives.
Thug Life | Song - Vinveli Nayaga (Lyrical)
Reflects on reunion with
Kamal Haasan
after 'Nayakan'
Mani Ratnam also spoke about his collaboration with Kamal Haasan, decades after Nayakan. Despite the long gap between that film and the recently released 'Thug Life', he said the time didn't feel distant. 'I've always kept up with his films and our interactions. Even though there was a long gap, I've been in touch and it doesn't feel like a big break,' he said, adding that he remains grateful for the trust Kamal Haasan placed in him during 'Nayakan'.
See More:
Thug Life Movie Review and Release Live Updates: Kamal Haasan-STR starrer nears release as buzz builds around high-octane first half
'Thug Life' first half earns mixed to positive reactions
'Thug Life', which hit theatres on June 5, is already sparking strong buzz online. Twitter is flooded with first-half reactions praising the film's visual aesthetics, A.R. Rahman's pulsating score, and Silambarasan TR's explosive performance. While Kamal Haasan's performance has been described as regal and composed, it is STR who many feel lights up the screen with unmatched energy. The film's interval block has been termed a 'mass blast' and a 'paisa vasool' moment for fans.
Check out our list of the
latest Hindi
,
English
,
Tamil
,
Telugu
,
Malayalam
, and
Kannada movies
. Don't miss our picks for the
best Hindi movies
,
best Tamil movies,
and
best Telugu films
.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Time of India
20 minutes ago
- Time of India
Star power or script power? The highs and lows of Tamil multi-starrers
Multi-starrer films have always created massive buzz in Tamil cinema, drawing in audiences with the sheer thrill of watching their favorite actors share the screen. When executed well, they deliver cinematic gold, take 'Chekka Chivantha Vaanam' for instance. Tired of too many ads? go ad free now Directed by , this action-packed drama brought together a stellar cast including , , Arun Vijay, Simbu, and Jyotika. Its success proved that a well-balanced script can harness multiple star energies without one overshadowing the other, making it a standout example of a multi-starrer done right. The film's taut screenplay and distinct character arcs offered a textbook case on how to effectively manage ensemble casts in mainstream cinema. The danger of star-centric films without substance On the other end of the spectrum lies the issue of unbalanced screen time and underwhelming writing. 'Jailer,' despite Rajinikanth's commanding presence, left some audiences divided due to the extended cameos by Mohanlal and Shiva Rajkumar, which felt more like crowd-pleasers than story drivers. Similarly, 'GOAT,' Thalapathy Vijay's ambitious time-travel drama directed by Venkat Prabhu, attempts to capitalize on a multi-layered cast including Prashanth, Prabhu Deva, and Meenakshi Chaudhary. However, the film faced criticism for failing to give its ensemble meaningful arcs, leading to a disconnect between hype and substance. When characters exist only to serve fan service, the storytelling inevitably suffers. Big promises ahead Ajith's 'Vidaamuyarchi,' which carried the promise of a unique storyline and an emotionally engaging journey, couldn't quite strike the right balance between character depth and mass moments. Meanwhile, 'Thug Life,' reuniting with Mani Ratnam after decades, boasts a dynamic lineup including Silambarasan, Trisha, , and Gautham Karthik. Tired of too many ads? go ad free now With expectations skyrocketing, fans hope the screenplay justifies each star's presence, avoiding the common pitfalls of fragmented storytelling. Adding to the excitement is 'Coolie,' directed by Lokesh Kanagaraj and starring Rajinikanth, which promises to blend star power with a gripping narrative, raising the bar for upcoming multi-starrers. The audience today is far more discerning, expecting not just presence, but purpose. Not every multi-starrer gets it right The real challenge in Tamil multi-starrers lies in coherence. Star value might sell the first weekend, but only gripping content sustains a film. Overstuffed casts often lead to shallow characterizations—as seen in 'Anbanavan Asaradhavan Adangadhavan,' where Simbu's multiple avatars couldn't salvage the muddled plot. Successful multi-starrers like 'Vikram,' though from the pan-Indian arena, set a benchmark for how Tamil actors like Kamal Haasan, Vijay Sethupathi, and Fahadh Faasil can thrive when backed by a strong narrative. 'No one can steal your talent. Multi-starrers are an opportunity to learn from other actors,' said Vijay Sethupathi during the promotions of Vikram. 'Without a strong supporting cast, no hero's film truly works. Multi-starrers are about adding value to the story,' shared while speaking about ensemble films at a movie event. 'Star clashes are purely business. What truly matters is whether each role fits the story—like it did in Vikram,' said Kamal Haasan, explaining the business strategy behind multi-starrers during 'Vikram' promotions. Nikilesh Surya (theatre manager & trade observer) on Vikram said in an interaction with The News Minute: 'Vikram is a testament to the box office potential of a good film with a great cast that people are eager to see. Hopefully, stars will let creators do their part like in Vikram and they can see the results follow.' "A strong cast does generate opening weekend hype but success must come from substance", posted trade analyst Ramesh Bala on social media about 'Thug Life.' Story over stardom: The real key to longevity In essence, multi-starrer Tamil films are a double-edged sword. While the excitement around them is undeniable, their lasting impact depends on the script's ability to justify each character's presence. Star power might open doors, but it's the story that ensures they remain open.
Hans India
44 minutes ago
- Hans India
Lal Salaam OTT Release: Rajinikanth's Extended Scenes Now Available on This Platform
Last year, superstar Rajinikanth made a special appearance in the movie Lal Salaam, which was directed by his daughter, Aishwarya Rajinikanth. The film, starring Vishnu Vishal and Vikranth, released on February 9, 2024, but despite high expectations, it failed at the box office and received negative reviews. The movie's OTT release was delayed for a year due to a missing hard disk that contained important scenes, including about 21 days of action footage featuring Rajinikanth. Director Aishwarya Rajinikanth mentioned that if these scenes had been included, the film's outcome might have been different. Now, with the hard disk recovered, Lal Salaam is finally streaming on SunNXT starting June 6, 2025. The OTT version includes an additional 12 minutes of footage featuring Rajinikanth and is currently available in Tamil, with the Telugu version expected soon.
The Hindu
an hour ago
- The Hindu
‘Aabhyanthara Kuttavaali' movie review: A one-sided pamphlet against Section 498A
The way a filmmaker conceives a single sequence can sometimes reveal the entire thought process behind the film. This is especially true of single-agenda films like Aabhyanthara Kuttavaali, the debut directorial of Sethunath Padmakumar. Sahadevan (Asif Ali), the protagonist who is facing a case under Section 498A over dowry harassment and domestic abuse, is shown returning to his wife's family the 100 sovereigns of gold that he got as a 'gift', a modern-day euphemism for dowry. A sentimental background score accompanies this sequence which is framed fully from the man's perspective, although he was earlier shown to have denied his wife's demand for a part of the gold to fund her higher education. Even this demand on her part appears unjust by the way the film looks at it. This sequence fits well with the rest of the film which is an emotional narrative of men 'victimised' by Section 498A. By now, we have a handful of such films, a number significant enough to call them as part of a universe of films proudly carrying the flag of men's rights associations. In most of these films, nuance is shown the way out, with bias welcomed in through the same door. 'Aabhyanthara Kuttavaali' (Malayalam) Director: Sethunath Padmakumar Cast: Asif Ali, Thulasi Haridas, Shreya Rukmini, Sidharth Bharathan, Jagadeesh Run-time: 123 minutes Storyline: A man faced with a fake dowry harrassment case goes to great extents to prove his innocence While it is true that there have been cases of women misusing the law to frame their husbands and claim alimony, the number of such cases are miniscule compared to the actual cases of domestic abuse and dowry harassment even in recent years in Kerala. Yet, in the world of Aabhyanthara Kuttavaali, men of all ages are at the mercy of this law. To convince us, the film provides us with three case studies, including the central one of Sahadevan. Now, a good number of the allegations against Sahadevan, like the one related to domestic abuse, are shown to be fake, which can be reflective of real-life examples. Family court lawyers occasionally make such claims to bolster their side's case. The problem arises when the film generalises this case and gives the protagonist an opportunity to deliver two long preachy speeches inside a courtroom, emphasising how this law has made life hell for men. The accused man has to make this speech because the female advocate (Shreya Rukmini) who is supposed to represent him is too scared to make her point in court. By some sheer coincidence, this lack of voice is a common affliction of all of the female characters in the film, due to which we rarely get to know what any of them thinks. Even Nayana (Thulasi Haridas), Sahadevan's wife, gets only a short monologue towards the end of the film. By the time she gets to speak, the agenda has been well set that the feeble attempt of the makers at appearing to be balanced and gaining some progressive brownie points, seems to be insincere. Even Asif Ali's natural flair in emotional scenes cannot lift this film, partly because it comes in the service of a regressive idea. The only safeguard, perhaps, is that the film intended to spread such ideas is not particularly well-made, with the treatment mirroring that of television soaps. Aabhyanthara Kuttavaali is currently running in theatres
