April 28, 2025: Thudarum Review [4.5/5]: Some films don’t announce their greatness; they whisper it through raw emotion, subtle power, and lived-in performances. Thudarum is one such rarity — not a spectacle, but a soulful cinematic confession that unravels slowly, then strikes deep. In a time dominated by over-the-top heroes and CGI-heavy cinema, Thudarum roots itself in soil, sweat, and heartbreak — and it blooms because of it.
Directed with unwavering sensitivity by Tharun Moorthy, the film is not just a return to form for Mohanlal — it’s a reminder of what Malayalam cinema does best: telling profoundly human stories with unflinching honesty.
At the center is Shanmugham (Mohanlal), a former stuntman turned taxi driver in Kerala’s heartland, whose prized possession is not wealth or pride, but a black Ambassador car — a symbol of his past, his struggles, and his soul. His wife Lalitha (Shobana) and children form the emotional canvas of his life. Theirs is a household not built on grand gestures, but on shared duties and quiet love.
But Thudarum is no nostalgia ride. When Shanmugham’s beloved vehicle gets caught in a police trap for a crime he didn’t commit, the narrative swerves into darker, unpredictable territory — exploring betrayal, systemic rot, and ultimately, vengeance.
Thudarum Review: Acting That Breathes, Mohanlal and Shobana Reignite Screen Magic in a Thoughtful, Slow-Burning Thriller
This is the actor Mohanlal, not the megastar. Stripped of glam and gimmicks, he gives one of his most grounded, stirring performances in years. His Shanmugham is fragile, funny, furious — often all at once. His chemistry with Shobana — mature, affectionate, and deeply intimate — forms the beating heart of the film.
Shobana, in turn, doesn’t play second fiddle. She’s luminous — poised yet fiery, holding her own in every frame. The tenderness in their relationship is rare for Indian cinema: old love, scarred but steadfast.
And Prakash Varma, as CI George, is a revelation — chilling in calm, terrifying in outbursts. His villainy is not cartoonish, but coldly calculated, reminiscent of real-world abuse of power. He joins the ranks of Malayalam cinema’s most memorable antagonists.
Jakes Bejoy’s score does not overpower; it lingers like a ghost in the background, rising only when the heart races. The cinematography by Shaji Kumar captures the Kerala landscape not as eye-candy, but as an emotional space — wet roads, grey skies, and forests that hold secrets.
Vishnu Govind’s sound design and the late Nishadh Yusuf’s editing contribute greatly to the slow-burn pacing — although the film would’ve benefited from tighter trimming in parts. A few slow-motion sequences and heavy-handed metaphors briefly puncture the realism but don’t derail it.
Tharun Moorthy’s brilliance lies in his refusal to rush. He allows you to soak in Shanmugham’s world, to feel his joys before experiencing his pain. When tragedy strikes — particularly the shocking loss of his son — the pain is not cinematic; it is gutting. The film echoes the real-life tragedy of Rajan during the Emergency, grounding the story in Kerala’s socio-political memory.
Thudarum doesn’t simply shift genres midway — it grows fangs. And yet, it never loses sight of the love, the quiet rage, and the simple humanity that fuel Shanmugham’s journey.
Winking nods to Mohanlal’s past — from Odiyan to Marakkar — are cleverly embedded, not for applause, but to reflect on the ridiculousness of hollow stardom. Moorthy gently mocks the mythos while crafting something far more meaningful: a vulnerable hero who bleeds and breaks.
Thudarum Review in short
If one has to shorten Thudarum Review, it is a triumph of restraint — a film that chooses character over chaos, story over style. Tharun Moorthy doesn’t just direct; he listens — to his characters, to his actors, and to the audience’s hunger for truth in storytelling.
And Mohanlal — freed from the burden of being “Lalettan” — soars by simply being a man. This is not just his best performance in recent years, it is a masterclass in letting go.
⭐ Rating: ★★★★½ (4.5/5)