There is the constant whipping up of Tamil nationalist frenzy, every time the hero is challenged simply because of his name.
The shoddy representation of women alone is not what is jarring in the national award winning actor’s home production. The modern girl who once dreamt of her own home has surrendered fully to her husband’s will. Despite the massive humiliation suffered at her husband’s hand, Hema does not walk out on her marriage. There is further insensitive portrayal of women, especially involving Hema D’Souza marriage to a husband, who balks at her and tells her that he married her only to score a point over Tamizh. She does not even mind that Tamizh does not tell her “I love you” all that much. She stays at home, helps Tamizh’s mother cook and clean, can’t stand anyone - even her own parents - criticise her husband, bears his child and runs behind him every time he forgets his tiffin box to work.
Tamizh’s wife eventually is Yamuna (played by Samantha), who is shown as the perfect house wife. So after the break-up, both the characters have arranged marriages. Tamizh rejects Hema (Amy Jackson) because of her dream of having her own home that won’t feature his parents as occupants. The break-up is abrupt and absurd at the same time. Tamizh, who is quick to reconcile with other modern aspects of his lover, refuses to buy into her dream. But I want my home to be my own and they can live where they are,” she says. “I will respect your parents and we can visit them on weekends. The so called “progressive female lead” Hema DSouza (played by British model and actor Amy Jackson) in the story is a girl who dares to drink some beer, gets physical with the hero before marriage (though pre-marital sex is not implied) and even slaps her boyfriend casually.īut Tamizh rejects her because of her dream of having her own home that won’t feature his parents as occupants. Some of the dialogues - especially of the hero especially when he keeps referring to Tamizh (தமிழ்) in a self-aggrandising way and the characterisation of the lead female roles - played by British actor Amy Jackson and young upcoming star Samantha - is thoroughly repressive. The film’s protagonist is named Tamizh (தமிழ்) and seems to represents all things good and bad (well mostly bad) about Tamil culture, as it seems to stand in the eyes of the director Velraj, who also takes the writing credits for the film. Which is why the film is hard to overlook as there are some really jarring notes in the script that attempts to play to the galleries. Most of the the technicians return in Thanga Magan and even the urban middle class setting and characterisations remain very similar.ĭhanush undeniably is one of the better actors around and has a phenomenal fan following among the youngsters, most specifically young men. The film is an out and out Dhanush vehicle, and brings back the team that gave the 2014 smash hit Vellaiilla Pattathaari (The graduate without a job). There are two ways to look at Thanga Magan (*Golden Son*), national award winning actor Dhanush’s film that released at the Tamil box office this weekend: Either dismiss it off as an average feature starring one of South India’s bright young stars or seriously look at some of the regressive stereotypes it presents.
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