Thangalaan review: Pa Ranjith strikes gold in an ambitious retelling of the KGF saga

Cinema is a powerful and effective tool for changing the way we view history and the politics that shape it. When a story is told with honesty and respect for its setting and era, it draws you in, making you feel as if you’re standing alongside the characters in their struggles. Yet, it also brings a sobering realisation that we rarely learn from the mistakes of our past.

Set in 18th-century Tamil Nadu, Thangalaan uncovers the trauma and the suffering that went into the making of the Kolar Gold Field (KGF) and how a village, empowered by a fierce leader, takes charge of its destiny. After being the victims of the varna caste system for many years, the association with a British officer Clement—in his quest for gold—is their only chance for a better tomorrow.

Thangalaan grows up listening to a lore around Aanamalai, involving his forefather, where bloodshed paved the way to gold. Much to the dismay of his wife Gangamma, he is haunted by the visions of a woman—Aarathi, a custodian of the Naga tribe, who died many centuries ago. He and the villagers aren’t chasing gold—but an opportunity to reclaim their pride—rights and identity.

Folklore, myth and a Buddha idol

Pa Ranjith, initially, establishes the power hierarchy within a village under the colonial role, the casteism that snatches their identity from them, examining their angst and their need to escape the trauma. While Gangamma’s only desire is to own a new piece of cloth, a Brahmin views their ‘breed’ as God’s favourite children and seeks to build a temple with his earnings.

A draconian rule forces the men in the village to serve as wage labourers under the Britishers and do what it takes to unearth the golden treasures beneath the rocks. Folklores, myths, supernatural elements and religion envelop the mundanity in their lives. There’s terrific visual imagery around the violence that unleashes after the head of a Buddha idol is grounded.

Pa Ranjith doesn’t want you to view his characters as beings worthy of sympathy but as a self-empowered lot unwilling to give up without a good fight. ‘Joining me may not be your immediate ticket to glory, but we at least have an opportunity, to get our due for our work and do what’s necessary to safeguard our children’s future,’ Thangalaan pleads to his fellow villagers to join the Britishers.

A solid drama

Given how Pa Ranjith gets slightly carried away, taking his sweet time to build his world with all its contours, Thangalaan struggles to build momentum in the pre-intermission portions. Though there are flashes of solid drama, they come alive significantly in the second hour, where the resilience of the villagers is tested to the hilt and a crisis brings them together to rise above their differences.

There’s also adequate focus on the little pleasures in their lives—clothing is their first step to a newer dawn. Gangamma beams with pride as Thangalaan is dressed in formal clothes on his return to the village. As he gifts blouses to the women in the village, their joy knows no bounds and they beautifully break into a celebratory song—“Minikki Minikki”. An Indian civil servant first wants to rip Thangalaan’s shirt apart to humiliate him.

It’s interesting how Pa Ranjith positions gold as an effective metaphor, as an integral element of nature and a tribe’s cultural identity, much like the bulls, snakes and the wild panthers.

If gold was an embodiment of hope initially, a pivotal character cautions Thangalaan later, ‘Pon oru manjal pei..adhu ellarayum kollum’ (Gold is a yellow ghost, it’ll lead you all to your doom).

A delightful non-linear narrative

The tone of the film changes significantly in the latter half—the fight is no longer about gold or livelihood—it’s to reclaim everything that was originally theirs. Thangalaan reminds us that the Britishers need us as much as we need them. Pa Ranjith’s voice shines through his unconventional creative choices—dealing with visions, reincarnation and ghosts—in a delightfully non-linear narrative.

Thangalaan reaffirms Pa Ranjith’s authority as a storyteller, demonstrating his innovative approach to reinterpreting history and making it relevant for contemporary audiences—a quality that was only sporadically evident in his recent works.

As co-writer Tamizh Prabha recently pointed out, Thangalaan tells the story of how the Taj Mahal was not built by Shah Jahan, but by the impoverished and marginalised people.

A brilliant star cast 

This is precisely what Vikram deserved following his role as Aditha Karikalan in Mani Ratnam’s Ponniyin Selvan franchise, where the film caters equally to the needs of the story and showcases his performance. As the family patriarch who makes a valiant effort to uplift his community, the seasoned actor, surrenders to the part with sincerity, exploring the various depths and complexity of a multi-layered role.

Parvathy Thiruvothu is superb as Gangamma, tapping into the persona beyond her domesticity and motherhood—playing the formidable partner to the protagonist—with her raw comic sense, inner strength and vulnerabilities in equal measure. However, Malavika Mohanan’s Aarathi is Thangalaan’s most fascinating character and various fragments from her life are stitched together with great finesse.

Several other performances—by the inimitable Pasupathy, an earnest Hari Krishnan Anbudurai, and a sparkling Preeti Karan—play a crucial role in establishing the authenticity of the setting. Daniel Caltagirone, is aptly, cast as the imperialist everyone would love to hate, while Arjun Anbudan turns out to be another impressive find.

While GV Prakash has always excelled with his background scores, it’s impressive how he dishes out a funky album with many memorable songs within a constrained setting— “Aruvadai”, “Minikki Minikki” and “Thangalaane” are a testimony to the progress he’s made as a composer. Kishor Kumar’s stunning cinematography, the costume designs complement Pa Ranjith’s vision.

Final take

Thangalaan is just the dense material that Pa Ranjith needed to widen his horizons as a storyteller and he adorns this intense, angsty historical action drama with great craft.

(Views expressed here are personal)

(Edited by S Subhakeerthana)

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