A noble leader, revered by the people for his righteousness, confronts numerous challenges on his journey. In search of solace and support, he turns to his closest ally, a formidable figure known for strength, dominance, and virtue. This trusted friend assumes the role of commander, and together, they lead their army against rivals determined to overthrow and eliminate the ruler. The unbreakable bond between the leader and his commander proves insurmountable, with their profound love for each other serving as their most potent weapon.
If you’ve watched both Mani Ratnam’s Thalapathi and Prashanth Neel’s Salaar: Part 1 – Ceasefire, a retelling of Neel’s 2014 film Ugramm, you might find it challenging to identify which movie is being discussed here. It’s understandable if you’re uncertain, as Salaar is essentially a revamped version of the 1991 gangster film, which itself draws inspiration from the purported friendship between Karna and Duryodhana, characters from the Hindu epic Mahabharata.
From the core to the surface, Salaar mirrors Thalapathi in various aspects. The titles of both films convey similar meanings, with Thalapathi suggesting a commander or leader and Salaar referring to a title bestowed on a one-man army for a monarch. Additionally, both movies introduce their heroes, Surya and Deva, through dialogues with their mothers, emphasizing the impact of upbringing on their lives.
In truth, the characters Deva and Vardha Raja Mannar are amplified versions of Surya and Devaraj, ruling over a larger and more affluent kingdom while being high on testosterone with low emotional intelligence.
Upon closer examination of Thalapathi, it becomes evident that despite their tendency to take the law into their own hands, Devaraj and Surya primarily work for the common people denied a life of dignity. Their actions target only those who commit severe acts against the oppressed. Thalapathi’s action sequences depict the heroes confronting ruthless villains, with Surya’s victims including those who assaulted women, a rapist cop, betrayers, and murderers.
In Salaar, Vardha sees Salaar as a weapon capable of committing acts he dreams of but can’t execute publicly. This amplification of Deva’s beast-like nature is evident in a sequence where Salaar unleashes fury on a villain’s army, amputating every member before killing their leader.
Comparing key moments in both films, such as Thalapathi’s office confrontation and Salaar’s royal court scene, underscores the fierceness of the heroes and highlights the differences between the unyielding heroes of the past and present.
Both Thalapathi and Salaar share a moment where the female leads witness the heroes in their formidable, almost monstrous states. In Thalapathi, Subbulakshmi observes Surya killing a cop from a bus, deepening her love for him upon understanding his motive for avenging a woman’s rape. In Salaar, a similar instance showcases the hero’s muscular physique and unapologetic attitude, leading Aadhya to fall for him. Unfortunately, this perpetuates the stereotype that women are easily drawn to macho figures capable of “protecting” them.
On a different note, much like Surya, Deva in Salaar is depicted as close to the children in his neighborhood, emphasizing their longing for normal childhoods. Interestingly, these children exhibit childlike behavior only when with their best friends, Devaraj and Vardha, respectively.
The moment of Vardha recruiting Deva in Bharuch mirrors Devaraj’s visit to Surya’s slum in Thalapathi. However, the key difference lies in Devaraj’s actions being driven by a deep understanding of Surya’s appreciation for their friendship, while Vardha’s motives in Salaar are essentially selfish.
In terms of performance, both Prabhas and Prithviraj fall short of eliciting emotions as impressively as Rajinikanth or Mammootty did. The lack of intricacies in Deva and Vardha also contributes to Salaar missing a crucial element found in Thalapathi—an outstanding rapport between the male leads.
Both movies give significance to the mother characters in different ways. In Thalapathi, Kalyani is absent until the end, while Deva’s mother is a constant presence behind him, serving as a calming force. However, contemporary “pan-Indian films” like Salaar often use mothers and women as scapegoats, attributing the ruthlessness of the heroes to promises made to women, subtly implying that women are responsible for unleashing the monsters in these men.
Several characters in Salaar share similarities with those in Thalapathi, including Radha Rama Mannar, Bhaarava, “Baba” Gaikwad, and Rudra Raja Mannar. Thalapathi, though not the sole source of inspiration for Salaar, has parallels with other works like the Baahubali franchise and Neel’s KGF duology. Salaar even recreates a famous moment from Shakespeare’s Macbeth.
Despite these inspirations, Salaar is a typical big-budget action film that falls short of effectively capitalizing on its dramatic elements. The film’s focus on star worship, elevations, and poor characterizations makes it a tiring watch. Additionally, Salaar: Part 1 serves more as an intro to the sequel, diminishing the value of the audience’s time and money. The film’s predictability, coupled with its outdated formula, raises questions about its purpose and effectiveness.
Directors like Prashanth Neel, who views cinema purely as a business, need to recognize that the formula they rely on might become outdated. Salaar’s inability to replicate the success of other big-budget action films underscores the need for a fresh approach, rather than relying solely on contrived introductions, exaggerated elevations, and mass dialogue moments.
