‘Madha Gaja Raja’ film evaluation: Vishal, Sundar C’s enjoyable, largely partaking throwback to masala cinema of the previous
We’re three Tamil movies and one pan-Indian title into Pongal cinema mania this yr, with two extra big-ticket releases on the horizon. But, it wouldn’t be far-fetched to say that one of the attention-grabbing Pongal releases this yr would possibly truly be (the curious case of) Madha Gaja Raja — masala cinema grasp chef Sundar C’s long-delayed comedy entertainer, releasing after 12 years. The discharge of a quintessential Sundar C entertainer is a phenomenon price discussing however Madha Gaja Raja isn’t simply that: it’s additionally a reminder, partly of what the present-day Tamil cinema has been lacking out on and partly of what it has largely tried to right itself from.
Look, right here’s the deal; it’s clearly a time capsule to a long-dying sub-genre of masala cinema, and it’s pure to weigh how the core concepts behind the movie have aged over time. It should both be outdated and formulaic, or has a timeless enchantment that makes you are taking it at face worth, irreverent to the larger image, and compels you to look past its flaws. Fortunately, Madha Gaja Raja nearly falls within the second class, providing senseless enjoyable and respite from all the intense actioners of our time. In the event you’re anticipating it to appease your 2025 movie-watching sensibilities, this will not be for you. In the event you’re nevertheless an viewers accustomed to Sundar C’s model of cinema, Madha Gaja Raja is a pleasant throwback — it tells you a factor or two in regards to the business cinema of our previous; why a Pushpa 2 works in 2024; why filmmakers used to take large gambles with comedies; and why heroines being embarrassingly used as mere intercourse symbols have diminished.
Let me put together you for the type of movie that awaits you: Of their new humble abode, a person opens the window to the sight of a temple tower, an auspicious signal in response to him. His daughter opens one other window adjoining, sees the movie’s hero Vishal, and goes, “However I can see God himself.” Think about a packed theatre corridor, some sniggering with their heads buried down and a few nonetheless processing the lens to view the movie.
Quite a lot of these concepts, cringe-worthy within the current day, have been run-of-the-mill within the 2000s and 2010s, and that the makers haven’t chopped them off says extra in regards to the launch itself. One other instance is a slow-motion intercut that exhibits the identical lady, feeling all the warmth in her loins for Vishal, as a result of he held her hips whereas Matrix-bending to keep away from a sickle-slash? Madha Gaja Raja is crammed to the brim with such campy tropes that we had lengthy forgotten, usually ensuing within the viewers erupting into laughter, the loudest of which got here on the sight of a automobile being hoisted within the air vertically (one thing each Vishal and Sundar C have forgone since their Aambala days).
What actually caught my consideration is how the primary half of the movie demonstrates why filmmakers have largely caught to the masala cinema components — as a result of it really works. The various business components are packed so densely, and to a lot shock, it doesn’t compromise the plot’s development. Rather a lot occurs in only one hour into the movie. A serious spotlight? After what looks like an eternity, the comic in Santhanam makes a terrific comeback, shortcomings intact, and we additionally get the long-forgotten unbiased comedy tracks.
Madha Gaja Raja (Tamil)
Director: Sundar C
Forged: Vishal, Santhanam, Sonu Sood, Anjali, Varalaxmi Sarathkumar
Runtime: 133 minutes
Storyline: A younger man stands up for his associates and takes on a enterprise tycoon, whereas additionally navigating a love triangle
The storyline is straightforward; Raja (Vishal) and his three childhood associates — performed by Santhanam, Nithin Sathya and Sadagopan Ramesh — reunite on the marriage ceremony of their favorite college trainer’s daughter. The marriage festivities themselves supply area for comedy, in addition to drama, centring on the love affair of the bride and the marital problems with Santhanam’s character, culminating in a reveal that introduces the principle antagonist of the movie: Sonu Sood’s Karkkavel Vishwanath, a media enterprise tycoon who had wronged each Nithin and Ramesh.
Raja vows to make it proper by his associates, main into the second half of the movie, the place the movie falters. He simply thwarts the political ambitions of the nitwit villain, a multi-millionaire who lets his ego get the perfect of him. In the meantime, Raja is caught in a love triangle, with Madhavi (Anjali), a traditionally-attired lady who leaves him after a misunderstanding to start with, and Maya (Varalaxmi Sarathkumar), Ramesh’s sister-in-law who wears Western clothes to finish the yin-yang formation. Come on, there’s one thing for all males, isn’t there? The movie was made again when Vishal was in his Theeradha Vilaiyattu Pillai section, and as soon as once more, the ladies right here have little to do than battle for Raja and turn into irrelevant intercourse symbols pandering to the male gaze (there’s a scene by which Raja emerges from a effectively carrying the 2 heroines on his lap!).
Simply as you’re about to lose persistence, Santhanam returns so as to add some much-needed levity. A scene that includes Santhanam, Vishal, Rajendran, and late veteran Manobala, is comedy gold; it pays homage to a sure comedy observe of late comic Nagesh from the ‘90s, and the execution is knee-slapping, to say the least. That is what Tamil cinema has been lacking for fairly a while. The gradual disposal of comedy tracks wants its personal evaluation, however with out the Santhanams, Sooris and Sivakarthikeyans of their comedy avatars, there’s a critical drought for good old-school comedy. Keep in mind, this was Sundar’s follow-up to Kalakalappu, one of the widespread masala comedies of its time, when Santhanam and Manobala have been at their comedic finest.
Vishal had then badly wanted a comedy break and this might need been it. He flexes his six packs in a battle with Sood and belts out heroic punchlines as normal process, however extra impactful is his supporting position in Santhanam’s comedy. That is cue to say late veteran Manivannan’s cameo, and Lollu Sabha Swaminathan, scenes that remind you the way such supporting actors can assist a movie particularly when the writing slumps.

As you’ll be able to infer, it is a movie that advantages from its personal self-awareness and the irreverence you present to it as a product of 2013. A scene by which Raja and associates intentionally lose a working race to their childhood rivals works solely since you are conscious such writing is a matter of the previous. This additionally helps you to shut your thoughts and shrug previous the objectionable elements (from sexual innuendos, double-entendre jokes and titillating dance choreography, to informal misogyny and utilizing damsel-in-distress tropes to pivot via conditions — provocating concepts are peppered all through, making them virtually inseparable from the material of Madha Gaja Raja).
However what if Sundar C made the identical movie now, with how each comedies and good masala entertainers are in excessive demand? It is likely to be tough to seek out takers for this model of cinema and every of the forged is on totally different programs of their profession (there additionally aren’t any appropriate replacements). Even Sundar C has developed significantly, as was evident from Aranmanai 4. Additionally, would Vijay Antony compose and Vishal sing a music that goes ‘Nee OC liquor’u, yen coronary heart’u jumputhu’? Let’s hope not.
So, maybe most of what glitters about Madha Gaja Raja isn’t the movie itself, however the senseless enjoyable of watching one thing that as an entire might solely exist in your previous. It’s nothing greater than a could-have-been that has by some means turn into a has-been.
Madha Gaja Raja is at present working in theatres
Revealed – January 12, 2025 06:45 pm IST