'Madha Gaja Raja' movie review: Punches land, but the jokes don’t
Sundar C’s long-delayed film Madha Gaja Raja operates in excess, from the characterisation to the comedy and everything in between. The film establishes early on that Vishal’s titular character is a saviour for all seasons. He saves an old man (Swaminathan) and his daughter (Anjali) on a moving bus from a horde of thugs.
He saves a friend’s volatile marital life. He deliberately loses a race because he wants to keep the eventual winner and his family happy. “There is also happiness in losing,” Raja declares. We get it. Madha Gaja Raja moves so quickly that we don’t have enough time to truly relate to these broad ideas or connect with the characters.
There is hardly any drama here. And the film’s attempts at humour often fall flat and descend into sexism and objectification, leaving a sour taste. For instance, three grown-ups gawk at a woman swimming in the river. A similar scene comes later in the film; only, this time, it makes for even worse viewing. It is disturbing to see how women are objectified in such a big-scale film.
Arya, who is barely there in the film, swipes at an old woman’s back so that Santhanam can make a sleazy adult joke about it. The film does not spare the men, either. For instance, most of the body-shaming jokes are aimed at the late Manobala’s character, who plays a power-hungry politician. Mind you, these are only the tip of the iceberg.
And they are not issues you can conceal with the asterisk of a film released at the wrong time. Was such humour appropriate for the time in which it was supposed to be released in the first place? Then again, if you look past all these puerile jokes and problematic elements, there is inarguably an entertaining first half in Madha Gaja Raja, with Santhanam delivering some big laughs amidst the duds and Vishal keeping the energy going.

While it takes a long time to get there, the story is cohesive enough. Two friends are in a tiff with a corrupt political system and an influential business tycoon (Sonu Sood) following arson at a pharmaceutical company. One of their friends (no prize for guessing who) must save the day. Sundar C’s unbridled enthusiasm and passion for cinema are evident all the way through, no more than in the wonderfully choreographed ‘Chikku Bukku’.
It is so rare to see an outdoor song without any set or change in costume, with everyone tapping their foot to the rhythms of the lyrics. But then again, Anjali’s presence in this song seems out of place. Her character, much like every other woman, almost seems like an afterthought in the film.
In a film that is mostly comic, the portions that work best are the ones made with some serious thought. While some fights seem haphazardly shot, with the camera moving in disorienting directions, most are neatly done. Vishal does them all with maximum conviction. There is a wonderful scene where his character impedes the car of the film’s villain Karukuvel Vishwanath (Sonu) yet the late Manivannan’s auto-driver character delivers the first punchline before Vishal takes over.
Vishal takes the backseat in a moment that seems appropriate. In another terrific scene, Rajendran shoots twice at the body of the same man he has killed just for ‘confirmation’. Oddly enough, what does not feel all that dated in Madha Gaja Raja is the portrayal of the villain. Sonu Sood here does not differ much from Rana Daggubati in last year’s Vettaiyan. While they wield power as businessmen and have political influence, they are ultimately powerless against the hero.
The sensibilities of the film become the most apparent when Vishal and Sonu go shirtless and slug it out in a factory. In this film, Vishal has done many sequences, actions and others, that are all about flaunting his stardom. Much like everything else in the film, the climactic fight also goes on a bit too long and makes it all look rather anticlimactic.
Director: Sundar C
Cast: Vishal, Santhanam, Anjali, Varalaxmi Sarathkumar, Sonu Sood
Rating : 2/5