The Malayalam film Thudarum, led by Mohanlal, has made an unprecedented impact at the box office, amassing over ₹230 crore worldwide and surpassing ₹100 crore in India within a mere 18 days. This phenomenal commercial performance has placed it the highest-grossing Malayalam films ever, surpassing the Mohanlal’s own mega budget movie L2: Empuraan.

While the film’s box office success is undeniably significant, reflecting the audience’s enthusiastic engagement, repeat viewings, and word-of-mouth recommendations, it is equally important to consider Thudarum through a societal lens. Beyond the applause and the excitement of its storyline, a deeper exploration of the film’s themes, underlying messages, and its potential influence on audiences, especially younger generations, is warranted. Such an analysis invites us to critically examine how Thudarum engages with contemporary social issues and what role it may play in shaping public discourse and cultural values.

Thudarum’s UA16+ rating by CBFC ignored by the masses

The Central Board of Film Certification (CBFC), formerly known as the Censor Board, has rated Thudarum as UA16+ under its updated 2024 certification system. This classification indicates that the film contains material—such as violence, intense situations, or strong language—considered inappropriate for children under 16 without parental supervision.

While many countries enforce strict age restrictions, barring entry to children below the specified age regardless of adult accompaniment, India’s UA16+ rating permits underage viewers to attend if accompanied by a parent or guardian, reflecting a more lenient regulatory stance.

Despite regulations requiring clear display of CBFC certification on movie posters and promotional materials, this information is often overlooked or absent in India. Consequently, families may unintentionally bring children to screenings of films containing unsuitable content. Even when parents are aware of the rating, some may still choose to attend, either trusting their own judgment or giving in to the enthusiasm of fans or trends.

Fandom: The Engine of Box Office Success

The film’s remarkable box office performance is a testament to the enduring strength of fandom. In the Malayalam film industry—mirroring trends seen elsewhere—star power and the devotion of loyal fans play a crucial role in shaping cinematic triumphs. Thudarum has been embraced as a “return to form” for Mohanlal, an actor celebrated for his magnetic screen presence and emotional depth. Both critics and admirers have lauded his performance as a nostalgic nod to his most celebrated days, with many declaring the film a dazzling comeback that highlights the very best of the legendary actor.

Mohanlal’s storied career started at just 20, with his debut as a villain in the 1980 film Manjil Virinja Pookkal. Yet, it was his unforgettable turns in romantic comedies and witty entertainers that truly cemented his legacy. Classics such as Nadodikattu, Thenmavin Kombathu, Chithram, Kilukkam, Yodha, Vietnam Colony, and His Highness Abdulla showcased his impeccable comic timing, effortless dance, and extraordinary acting prowess, leaving an indelible impression on moviegoers.

In Thudarum, Mohanlal steps into the shoes of a larger-than-life, action-driven hero, reminiscent of his iconic roles in Narasimham, Aran Thampuran, and Pulimurugan, where physicality and action sequences took center stage. While the film’s first half does allow glimpses of his acting range, much of the story unfolds through high-octane action rather than the subtle character work that defined his earlier classics.

The film has been promoted as a much-anticipated reunion of Mohanlal and Sobhana after a long break. However, Sobhana’s role is quite limited, and her presence has had little to no impact on the movie’s overall success. It’s initial posters made us presume it to be a family movie. It turned out to be otherwise.

The sheer passion of Mohanlal’s fanbase ensures that Thudarum, its plot, action, and overall style, is met with thunderous applause and excitement. For many viewers, the opportunity to see their idol in a dynamic, action-packed role is reason enough to flock to theaters, underscoring the fact that fandom continues to be a dominant and driving force in the industry.

A Villain’s Film: Triumph of the Antagonist

After the first third of its runtime, Thudarum plunges headlong into a world of violence, a calculated narrative choice. The film follows a classic cinematic formula: painstakingly build the villain’s wickedness, mounting up tension until the audience is left longing for his inevitable downfall.

The director and screenwriters have crafted an antagonist whose evil is both real and relentless. Every act of cruelty, every sinister smirk, and every cold-blooded maneuver is designed to provoke an instinctual response. By the film’s midpoint, the villain’s oppressive presence is so overwhelming that viewers are psychologically primed for his defeat. In this respect, Thudarum excels spectacularly, so much so that it could be said to score “15 out of 10” in vilifying its antihero.

A Fresh Face: Prakash Varma

One of Thudarum’s most striking features is its bold casting choice: newcomer Prakash Varma as the villain. This decision pays off brilliantly. Varma delivers a performance that is both chilling and magnetic, commanding attention in every scene. His portrayal is so compelling that it overshadows even the performance of superstar Mohanlal.

Since its release, Thudarum has generated considerable buzz on social media, with much of the praise directed at Prakash Varma’s breakthrough performance. Thudarum has, for many, become more of a Prakash Varma film, a testament to the power of a fresh, unforgettable antagonist. In the process, the film seems to glorify villainy itself.

It’s worth noting that this phenomenon is not entirely new. For example, the recent Malayalam hit Officer on Duty followed a similar trend: during its promotional college tours, a gang of villains, two men and two women, stole the spotlight from the hero. This pattern reflects a broader shift in audience preferences.

Amid this wave of villain-centric enthusiasm, a leading Malayalam daily conducted a readers’ poll to select the most iconic villain in Malayalam cinema history. Kirikkadan Jose from the film Kiridum took the top spot, further highlighting audiences’ growing fascination with compelling antagonists.

Portrayal of the Police System

Thudarum presents a disturbing image of the police force. The film’s antagonist is a Deputy Superintendent of Police (DYSP) with over thirty years of service, whose participation in an honour killing casts a long, dark shadow over the institution. The complicity of another officer and the fact that the crime takes place within a police station only serve to further undermine public image in law enforcement system.

In this context, the recent hit film Officer on Duty features a police officer as its protagonist. He struggles to resolve the central issue within the system, but ultimately resigns and takes matters into his own hands by eliminating the villainous gang. This narrative once again highlights a deep-seated distrust in the country’s law and order framework.

Awakening Social Awareness

At its heart, Thudarum serves as a powerful wake-up call regarding the persistent scourge of honour killings in Indian society. The film’s climax and concluding title cards starkly underscore this grim reality: In India, an estimated 30,000 cases of honour killings occur every year. Yet, shockingly, only 25–35 cases are officially registered. The rest vanish into silence, buried beneath caste bias and social pressure.      

The commercial movie’s brave attempt to awaken the social awareness to the social illness. However, the solution offered by the film is deeply problematic.

Is Violence the Answer?

The hero’s transformation into someone even more ruthless than the villain, and the brutal, grotesque methods he uses to exact revenge, risk glorifying violence. The film introduces a shocking new method of killing, which may both horrify and captivate audiences. In the end, the hero surpasses the villain in body count, for one killing committed by the antagonist, the protagonist takes two lives. This approach may leave viewers, particularly younger ones, with the troubling impression that individual retaliation and violence are acceptable or even necessary solutions to social injustice.

The End: ‘Will Continue’

Thudarum concludes with a bold message on screen: “Mohanlal… Thudarum (will continue),” prompting fans to rise from their seats in applause. This ending not only excites audiences about the prospect of future Mohanlal films in similar roles, but also fuels anticipation for higher-octane, action-driven stories.

However, from a social perspective, especially for non-fans and the younger generation, this ending carries a different implication. The “will continue” [English translation of the title of the movie] Thudarum can be interpreted as a troubling signal: a suggestion that social injustices, ineffective law and order, a compromised police force, and the normalization of vigilantism are ongoing realities. It reinforces the idea that, in the face of systemic failures, taking the law into one’s own hands may seem like the only viable answer to such atrocities. The film’s closing message, therefore, leaves viewers with a sense that these issues, and the cycle of violence and injustice, will indeed continue.

Take Away

Failures often prompt us to search for deeper causes, but the success of a film like Thudarum should also encourage us to reflect, on what we have achieved, and at what cost. As a community, it is essential to critically examine the factors behind the movie’s triumph and the messages it sends. What do we find?

• Fandom prevails: Star power can sway even responsible parents to disregard warnings and take risks, allowing children to view content that may not be age-appropriate.
• Performance overshadows message: The charisma of the lead actor eclipses the film’s underlying themes and the implications of its story.
• Glorification of villainy: Compelling antagonists inspire young viewers, sometimes leading them to see violence as an acceptable response to provocation.
• Violence begets violence: The trend of “evil versus evil” or “violence versus violence” as a narrative device is becoming alarmingly common in cinema.
• Cinema as a mirror: Movies reflect society’s ills, but increasingly, they suggest that evil or violent means are the only way to solve them.
• Generational approval: When parents and elders applaud characters who take the law into their own hands on-screen, it signals to the youth that violence may be justified as a solution to social issues.
• No solution in sight for social injustices: If we continue down this path, the cycle of social illness and injustice will persist.

The overwhelming popularity of Thudarum reveals much about our collective social consciousness. It is time to reconsider the values and lessons we are reinforcing through cinema. The question we must ask ourselves is: Should we let this continue? Or is it not time for change?

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