Vijay Antony, known for his sonic contributions as a music director, has made his mark in the Tamil film industry as an actor. The year 2024 alone saw Antony starring in three films, with his latest, “Hitler,” adding to his burgeoning filmography. Despite his prolific output, critics have noted a discernible drop in quality, with “Hitler” embodying this issue all too well.
“Hitler” opens with a scene reminiscent of a bygone era, focusing on a group of women laborers, including one visibly pregnant, trying to cross a river using a makeshift rope. This seemingly innocuous beginning quickly turns tragic, setting the stage for a film steeped in predictable tropes.
Transitioning to Chennai, the narrative follows Selva (Vijay Antony), who becomes roommates with Karukkavel (Redin Kingsley). In a typical cinematic fashion, Selva instantly falls for a woman he collides with, establishing the film’s romantic subplot. Simultaneously, Deputy Commissioner Shakthi (Gautam Vasudev Menon) is embroiled in an investigation of serial murders that seem to be linked to politician Rajavelu (Charanraj), whose illicit funds are being systematically stolen by the killer. The film’s paths converge predictably, making it apparent that “Hitler” does little to subvert audience expectations.
Had “Hitler” been released in previous decades, it might have served as a quintessential example of a vigilante film. However, in the present day, it comes off as a derivative work, reminiscent of several cult classics, including the iconic “Gentleman,” which also featured Charanraj. The film adheres to a familiar template without introducing any fresh elements. Efforts to introduce plot twists, such as a red herring involving a character played by Vivek Prasanna, fall flat and fail to provide the narrative with much-needed dynamism.
Amidst its flaws, “Hitler” successfully integrates its female lead into the main storyline, a commendable effort not always seen in vigilante films. Riya Suman, portraying Sara, Selva’s love interest, transitions smoothly from romantic interludes to the core plot, performing her role admirably.
. Gautam Vasudev Menon delivers a convincing portrayal of a principled supercop forced to operate under the sway of political forces. In contrast, Vijay Antony’s Selva fluctuates based on his interactions, a character trait that fails to be effectively convincing. Antony’s portrayal of Selva’s enthusiastic demeanor, especially around his roommate, lacks authenticity.
While “Hitler” attempts to tackle political themes, it never fully commits to its core idea. Veteran actor Charanraj’s return to Tamil cinema is a highlight, yet his portrayal of a one-dimensional politician often verges on the comical. In a series of farcical decisions, Rajavelu tries bribing voters to sway polls in his favor and foolishly uses local trains to transport black money, despite repeated failures leading to significant losses. This narrative implausibility adds unintended humor rather than depth to the film’s political undertones.
A significant shortfall of “Hitler” is its writing. Unlike Dana’s directorial debut “Padaiveeran,” which had a gripping social narrative, or “Vaanam Kottattum,” which captivated with its emotional heft, “Hitler” lacks either. The story, ripe for exploring social issues and emotional dimensions, ends up as a tepid vigilante action film that neither convinces nor entertains.
The comparison to the historical dictator Adolf Hitler proves misplaced, as the film lacks any substantial agenda, leaving audiences yearning for meaning in its narrative. This disjointed approach detracts from whatever potential “Hitler” might have had.
Currently showing in theaters, “Hitler” marks another attempt by Vijay Antony that prioritizes frequent releases over substantial content, echoing a sentiment that’s hard to ignore in today’s cinematic landscape. As it stands, “Hitler” offers little more than a rehash of past formulas, failing to resonate with an audience craving innovation and depth.
/title: Vijay Antony’s ‘Hitler’: A Revenge Drama That Misses the Mark
