In this blog we are going to see movie named Thunivu
In the second half of Thunivu, there are a few episodes that, if watched separately, might give the impression that the film is produced by Shankar. from AR Murugadoss, as an alternative. The protagonist's goals are revealed in a tragic flashback written in the manner of Shankar. The other is a popular segment where the villains who exploited a gullible populace are forced to make amends on live television while we discover the nefarious workings of a well-known industry.
However, in contrast to Shankar and Murugadoss, H Vinoth doesn't seem to believe in condensing the main subject of his movie in a broad, larger, and more traditional narrative that introduces the characters before going into the plot. The initial few sequences of this movie get right into the plot, keeping us guessing as it shows us events as they happen in real time and introduces characters along the way. Therefore, the first scene of the movie, a bank robbery, is shown right away.
When gangster Radha (Veera) and his men show up for the bank robbery, they find that a mystery man (Ajith Kumar) has already entered the building and is ready to take over. The Commissioner (Samuthirakani), who is in charge of the police, learns that there is something else evil going on while they try to catch the man. What does this man want? Who is he?
The first thing you notice about Thunivu is his rapid pace. The scenes move by so quickly that we wonder if the editor, Vijay Velukutty, is speeding things up by 1.5 times. This requires some getting accustomed to, just like Ghibran's constant background music does. For a big-budget movie, the production design is actually rather cheesy.
Vinoth is still jamming as much information as possible into the script while it is still being written. He provides us with all the information we require on financial fraud and what happens to the cash that clients deposit in a bank. Some of this is lost on us because of how quickly the movie moves. Sometimes we wish the director would go more slowly so we could gain a deeper understanding of the characters and the problem. Not only are the bankers in this case the bad guys, but also the police, the press, and the politicians. However, the rapid speed prevents us from observing how one influences the other.
The director decides to let his star, Ajith, go and perform anti-heroic things in order to highlight the film's best moments. The actor simply takes over the scenes in the first half, putting on an entertaining over-the-top performance that draws cheers from the audience, including dancing like Michael Jackson and making witty asides.
Manju Warrier, who played the protagonist's companion and gets to undertake some stunts and enjoy a fantastic mass moment in one scene, never bothers to clarify whether or not they are just romantically attached. She receives nothing else from the position than that, though.
Both Samuthirakani and the other performers continue to be largely useful. The film's issues are mostly attributable to the adversary actors' performances. There doesn't seem to be any threat from any of them to Ajith's persona. The frequent gun shoots in Supreme Sundar's action sequences especially stretch the boundaries of believability.
Despite the fact that the movie doesn't illustrate how the protagonist was specifically influenced by how our financial institutions function and how that impacts the regular person, it is still tough to sympathise with the protagonist. When the movie turns into an absurd sea pursuit, we begin to wonder if courage alone can bring honour
“NO GUT NO GLORY”
