Vijay Antony, a man on a cinematic spree, is back with his latest film, Hitler. This release marks his third outing in 2024, following a string of four films last year. However, an unsettling pattern has emerged: while Antony is undeniably prolific, the quality of his films has been increasingly questioned. Hitler, unfortunately, is no exception and seems to prioritize quantity over quality.
The narrative of Hitler is as old as its namesake, and there is little in the way of innovation or novelty. The film opens with a cliched scene featuring a group of exhausted women laborers, one notably pregnant, crossing a river on a makeshift rope bridge. Predictably, the perennial rains raise the water level, transforming this treacherous commute into a full-blown disaster. This sets the tone for a movie that seems more a pastiche of old tropes and less a fresh take on the vigilante genre.
The storyline then shifts to Chennai, where the protagonist Selva, portrayed by Vijay Antony, finds himself sharing a room with the comically named Karukkavel, played by Redin Kingsley. True to form for Indian cinema, Selva experiences love at first sight upon literally bumping into a woman. Concurrently, Deputy Commissioner Shakthi, brought to life by Gautam Vasudev Menon, is deep in an investigation involving a series of murders with an identical modus operandi. All clues point to the politician Rajavelu, played by Charanraj, whose black money is continuously being stolen by the elusive killer. As such narratives go, the lives of Selva and Shakthi intersect, leading to revelations that are disappointingly predictable. For seasoned moviegoers, Hitler offers little in the way of surprises, but for those new to the genre, it might still hold some allure.
Had Hitler been released several decades ago, it might have served as a prime example of a vigilante film. However, in the current cinematic landscape, it feels like a rehash of several cult classics familiar to the audience. One such film is the iconic Gentleman, which, interestingly enough, also featured Charanraj. This familiarity is compounded by a lack of creativity; even attempts to introduce plot twists, such as a red herring involving Vivek Prasanna’s character, fall decidedly flat.
.
Nonetheless, Hitler does have its merits. The female lead, played by Riya Suman, is not relegated to the sidelines after the customary romance scenes. Instead, her character Sara becomes an integral part of the main storyline, and Suman delivers a commendable performance. Gautam Vasudev Menon is convincing as the earnest Deputy Commissioner Shakthi, a man trying to navigate the murky waters of political corruption. Selva, on the other hand, is written as an enigmatic figure whose demeanor shifts depending on who he interacts with. Unfortunately, Vijay Antony’s portrayal of Selva, particularly the zealous behavior around his roommate, comes off as less than convincing.
Despite the political undertones, Hitler fails to delve deeply into its main themes. The return of veteran actor Charanraj to Tamil cinema is wasted on a character that is disappointingly one-dimensional. Rajavelu makes almost laughably poor decisions; when faced with unfavorable poll predictions, he resorts to bribing constituents and attempts to evade the election commission by using local trains to transport black money. This harebrained scheme backfires spectacularly, yet he baffles audiences by trying it again – twice – eventually losing vast sums of money each time.
Director Dana’s previous works, like Padaiveeran and Vaanam Kottattum, showcased gripping social narratives and emotional depth. Unfortunately, Hitler doesn’t live up to those standards. What could have been a compelling vigilante drama ends up as a watered-down actioner devoid of both astonishment and substantial entertainment value.
In conclusion, while Hitler may entice a few unsuspecting viewers with its title and premise, those familiar with Indian cinema will find it lacking in originality and grandeur. Its borrowing from well-known classics in the vigilante genre is all too evident, and its plot twists don’t provide the requisite excitement. What remains is a film that, despite its superficial gloss and occasional moments of competence, ultimately falls flat.
Hitler is currently screening in theatres, inviting viewers to draw their own conclusions from this repetitive yet intriguing attempt at a vigilante drama. Nonetheless, it leaves much to be desired, calling into question the trajectory of Vijay Antony’s prolific but disappointingly predictable film roster.
