Despite stylish visuals and strong performances, director AR Murugadoss’ reliance on implausible plot points and lacklustre music prevent it from being the complete action entertainer it promises to be.
AR Murugadoss’ latest film Madharaasi opens with the line ‘Unnai pol pirarai-um nesi’ — ‘Love others the way you love yourself’. That sentiment forms the essence of the film, which attempts to explore selflessness in a world filled with unconcerned people. Starring Sivakarthikeyan, Rukmini Vasanth, Vidyut Jamwal, Biju Menon, Shabbir Kallarakkal, and Vikranth, the film promises a heady mix of action and emotional drama.
In the film, except for Raghu (played by Sivakarthikeyan), everyone lacks the virtue of helping others. An illness related to delusions makes Raghu affected personally by others’ problems. And sadly in this dystopic world everyone attempts to exploit his illness for their own benefit. This includes the assumed noble characters: Malathi (played by Rukmini Vasanth) and Prem (Biju Menon).
Like a typical Murugadoss film, Madharaasi too has a dose of Tamil nationalism where it repeatedly prides itself on the fact that Tamil Nadu does not have ‘gun culture’ unlike other states – hinting at north India. Tamil films also tend to show that the male leads are attracted to their partner once they see their mother in her. Murugadoss also does the same in a strange manner. The obsession of Tamil filmmakers with this issue is curious.
Madharaasi has a wafer-thin plotline: a mafia network conspires to introduce ‘gun culture’ in Tamil Nadu and destabilise its growth. The National Investigation Agency (NIA) is battling to thwart this. Whether they succeed or not forms the rest of the story.
Despite the simple storyline, Murugadoss weaves interesting subplots that do not deviate from the actual plot. As stated in his multiple interviews, the film has many action sequences.
The film’s action choreography, helmed by Kevin Kumar, is a highlight. The set pieces are designed to thrill, with intense, well-staged combat sequences that command attention. The film, despite its implausibilities, maintains narrative coherence and mostly avoids glaring logical flaws.
Madharaasi would have been a complete action entertainer if you are willing to suspend disbelief – but this becomes increasingly difficult. In the film, NIA, the premier investigative agency, and the police are shown as extremely incompetent, who have to rely on ‘outsourced’ individuals to accomplish their tasks. The NIA has no qualms about using the ‘services’ of a man who is desperate to kill himself; even after they learn that the individual has a mental illness, they don’t seem to have any ethics.
Malathi develops an interest in Raghu despite his mental illness. In fact, it is his mental condition that attracts her to him. Initially this sounds noble, until it is revealed that she has an unsaid precondition. Sample this: Malathi is aware that Raghu is mentally unwell, yet she ghosts him. What was she expecting him to do?
Sivakarthikeyan shines as Raghu, embodying both innocence and the unhinged fury of a man triggered by childhood trauma. His effort to become the next action star similar to Vijay, Ajith, or Surya reflects on the screen.
Vidyut Jamwal, reuniting with Murugadoss after Thuppakki, brings swagger and depth to his role, at times overshadowing the lead. His character’s arc, paired with sharp dialogue references to Thuppakki, provides some of the film’s most crowd-pleasing moments.
Shabbir Kallarakkal also gets a decent role and he is thoroughly impressive. The story could have been more interesting if they had given some details about the bond between Viraat (Vidyut) and Chiraag (Shabbir).
Cinematographer Sudeep Elamon lends Madharaasi the polish of a high-voltage action film, ensuring it looks gripping on screen. But the music department is where the film stumbles. Anirudh, often a saving grace in weaker projects, fails to elevate this one. The songs feel misplaced and disrupt the flow, while the background score lacks punch.
Editor Sreekar Prasad’s brisk cuts appear to compensate for these interruptions, but the rushed pacing leaves little breathing room for subplots, making the narrative feel disjointed.
Madharaasi has all the ingredients of a slick action entertainer – an intriguing premise, charismatic performances, and exhilarating set pieces. But its reliance on implausible situations, mishandled emotional threads, and underwhelming music dilute the impact.
For fans of Sivakarthikeyan or Vidyut Jamwal, it may still deliver enough thrills. For others, it might feel like a film that promises more than it manages to deliver.
