Plot – Samuthirakani’s films are known to be heavy-handed, loud and over-the-top in their approach. He makes it a point to communicate his thoughts and ideas as ‘messages’ through his films. Thondan is no different and here he plays a non-violent ambulance driver who takes down a corrupt bigwig without compromising on his ideals and principles, despite being tested to the limit.
– The goodwill that Samuthirakani has among viewers is immense and he is instantly likable. There are heart-warming dialogues about how he considers his ambulance as dearly as his mother. The ambulance angle and the well-shot rescue scenes make the film stand out to a certain extent.
– The first half of the film grips us to a fair extent and the conflict heats up in dramatic fashion at the intermission point. Though presented in a brash manner, the scene in which a group of college girls strike back at a violent offender and stand up for themselves is impressive.
– The ‘Poi Varavaa’ song sequence, in which Vikranth sorts out his life by training to be an ambulance attendant, is the best part of the film. The visual montages in this song, composed by Justin Prabhakaran, make good connect. But Vikranth doesn’t get much in the latter half of the film.
– Soori makes us chuckle and also offers some food for thought in his brief appearance.
– Newcomer Arthana has a charming, innocent face and she also gets a key scene to perform. Her love track with Vikranth seems like a mandatory inclusion
– There are a whole lot of support actors such as Vela Ramamurthy, Kanja Karuppu, little actor Nasath, Sunainaa (the typical pair) pitching in with their parts.
– Seeing comedy actor Namonarayanan as a full-fledged villain just doesn’t fit in rightly.
– In the second half, Samuthirakani’s long monologue to a speechless politician about the recent jallikattu movement and the various cattle breeds which have gone extinct, is a forced inclusion just to play to the gallery. It doesn’t have any bearing on the film’s plot. The second half also has needless build-up shots for the hero.
Final Word – Samuthirakani considers his films as a medium to communicate good messages to society and not just as a means to entertain. In Thondan, the balance is skewed towards the message side and yet, it doesn’t hit the viewer hard