The anatomy of interpersonal connections in Atlee movies: How they elevate his mass films beyond mere hypermasculinity celebration

One of the very few Indian filmmakers who skillfully craft movies that exude superstar charisma, what sets his movies apart is their emphasis on interpersonal human relationships, which extend beyond just romantic connections. In fact, this is one of the reasons why audiences continue to enjoy his films, even though they are merely average and after recognising the influence of various other movies in his works.

In real life too, Atlee has never hesitated to celebrate the people around him, including his wife Priya, their parents, his friends, colleagues, and even his mentors, which, in turn, reflect in his movies.

As Atlee turns 37 on Thursday, let’s anatomise how his portrayal of human relationships contributes to his films’ enduring impact, compelling audiences to revisit them.

Theri

While Atlee’s films, with the exception of his debut Raja Rani, primarily focus on celebrating male superstars, depicting them as indomitable and unbeatable, none of these central characters conforms to the typical archetype of global mass movie heroes who exude a lone-wolf persona with little regard for their personal connections. In fact, all of them are portrayed as emotionally driven and emotionally available to their loved ones.

Although Theri clearly caters to Vijay’s fanbase by highlighting his swagger and persona, the film also delves into DCP Vijay Kumar’s relationships with those around him, especially the women. From his mother Paappu (Raadhika Sarathkumar), and wife Mithra (Samantha Ruth Prabhu), to his daughter Niveditha (Nainika), and the local schoolteacher Annie (Amy Jackson), Theri presents Vijay Kumar not as an excessively masculine, testosterone-driven alpha male, but as a compassionate man who goes to great lengths for others.

While his equation with his mother and the way he turns out as an adult evidently dismisses the societal bias people have towards kids raised by single mothers, the love shared between Vijay and Mithra stands out due to their open and respectful communication. Additionally, his commitment to being a father to Niveditha, not only because of his promise to his late wife but also as a sense of duty, exemplifies his compassionate nature. Despite the film’s mass appeal, it’s the emphasis on interpersonal relationships that endears Theri to fans.

Director Atlee with actor Vijay on the sets of Theri. (Image: Atlee Kumar/Facebook)

Mersal

Mersal, on the other hand, is a celebration of the star that is Vijay and human relations in tandem. Starring Vijay in a triple role as a village wrestler and his two sons, the film adeptly shows beautiful bonds between various characters. 

Vetrimaaran, both a wrestler and the natives’ go-to person, also shares a deeply affectionate bond with his wife Aishwarya (Nithya Menen). Their commitment to the well-being of their people is evident in their decision to use all their earnings to build a fully-equipped hospital, addressing a significant local need.

Director Atlee with actor Nithya Menen on the sets of Mersal. (Image: Atlee/Instagram)

Years later, after Vetrimaaran and Aishwarya’s deaths, though their son Vetri, a magician, seeks vengeance for their murder, his actions, however, go beyond personal vendetta. He directs his fury not only at those responsible for his parents’ demises but also at those who deny adequate healthcare to those in need. This underscores the sense of camaraderie and compassion Atlee characters share with the community.

On the other hand, Vetrimaaran and Aishwarya’s eldest son, Maaran, a doctor, does his part for society by extending his medical expertise to the economically disadvantaged by charging a nominal fee of just Rs 5 for consultations. Although Vetri and Maaran’s paths never cross, and Maaran remains unaware of Vetri’s existence until an attack occurs, Vetri emerges as a saviour here, demonstrating his unwavering support for his brother.

Even Vetri and Maaran’s relationships with their respective significant others, Anu Pallavi (Kajal Aggarwal) and Tara (Samantha Ruth Prabhu), as well as the support characters in their lives, such as Vadivu (Vadivelu) and Maaran’s adoptive mother Sarala (Kovai Sarala), are portrayed as genuinely endearing. This portrayal diverges from the typical depiction of male protagonists in mass movies, where they are often shown as rude, asocial, and emotionally distant. Unlike the usual depictions of alpha men in such films, who often justify their behaviour with rawness and past traumas, Atlee’s heroes choose a different path, ensuring that their loved ones feel exceptionally cherished and cared for.

Director Atlee with actor Vijay on the sets of Bigil. (Image: Atlee/Instagram)

Bigil

At the same time, one of the reasons why Bigil is the weakest work by Atlee to date is the limited attention given to interpersonal relationships. Despite having many characters that could have fostered captivating chemistry, the film heavily relies on the star power of Vijay. In spite of being touted as a sports action drama centred around women footballers, Bigil falls short in this aspect, though it showcases quite a few matches. A low-resolution Chak De! India, the movie fails to explore the dynamics between the coach and players or delve into the bonds among the footballers in a meaningful way.

Nevertheless, the film does excel in depicting the relationship between the footballer-turned-coach Michael and his father, Rayappan, both portrayed by Vijay. Rayappan’s character shares similarities with Karikaalan from Pa Ranjith’s Kaala (2018), albeit without addressing caste discrimination. Rayappan, like Karikaalan, wielded weapons for the protection of his people who have constantly been marginalised. While he remains unapologetically true to himself and his actions, Rayappan believes that violence won’t bring about real change in the world. Instead, he dreams of his son, Michael, leading the way for the future generation in their slum to a new world where they can find their voices as footballers.

Although Rayappan’s screen time is limited, his emotional connection with Michael and his vulnerability when sharing his dreams with his son is genuinely heartwarming. Despite being underused, the father-son dynamics in the film stand out, thanks to their strategic placement in the narrative and hence, Rayappan’s words, “Cup mukhyam Bigilee” (We should win the cup, Bigil), linger in the viewers’ minds long after the credits roll.

Atlee with composer AR Rahman during the making of Bigil. (Image: Atlee/Instagram)

Jawan

In his latest work Jawan too, Atlee heavily emphasises the importance of camaraderie and underscores that people should stand up for each other. While the film delves into various topics, such as farmer suicides and deficiencies in government-run hospitals, and highlights the significant role people play in shaping society, one of the most compelling moments in Jawan revolves around the relationship between Aishwarya Rathore (Deepika Padukone) and her son Azad. By showcasing Deepika’s exceptional talent in these particular scenes, Atlee ensures that the bond between mother and son resonates deeply with audiences, making them genuinely root for Azad (Shah Rukh Khan) as he pursues his goals.

Jawan also, briefly, explores the connections Azad shares with his wife Narmada (Nayanthara), step-daughter Suchi, and his father Vikram Rathore (SRK), underscoring how such emotional relationships can enhance the overall impact and endurance of a film.

Director Atlee and his wife Priya Mohan with Shah Rukh Khan during Jawan’s audio launch event in Chennai. (Image: Atlee/Instagram)

Raja Rani

Atlee’s first film, Raja Rani, was totally different from his later works mainly because it belonged to the romance genre. Although the film primarily centres around romantic relationships, it portrays them in a beautifully crafted manner.

Initially, Johan (Arya) and Regina (Nayanthara) embark on their marital journey as an incompatible couple with the former exhibiting obnoxious and disruptive behaviour, while Regina responds with cold and toxic tendencies towards him. However, at a certain point, they both come to the realisation that these behaviours are defence mechanisms they’ve adopted to shield themselves from the pain of past unfulfilled love and to avoid another heartbreak.

Upon learning about each other’s personal struggles, they become willing to give their relationship a second chance. Unfortunately, their difficulty in initiating open communication becomes a significant obstacle. Nevertheless, the love that gradually develops between them serves as a foundation, anchoring them and leaving them yearning for more.

While their initial unpleasant behaviours towards each other cannot be justified by their past traumas, the film also conveys that only love has the power to mend the void left by lost love. It echoes the sentiment expressed in Fleabag when Boo tells the protagonist “It’s gotta go somewhere,” after Fleabag shares her uncertainty about how to channel all the love she still holds for her departed mother.

Director Atlee with actors Arya and Nazriya Nazim on the sets of Raja Rani. (Image: Atlee/Facebook)

Simultaneously, John and Regina’s relationships with their former partners Keerthana (Nazriya Nazim) and Surya (Jai), respectively, radiate a feeling of warmth, largely due to the diverse personalities of these characters, which make these connections genuinely endearing.

This focus on interpersonal relationships has undoubtedly contributed to the lasting impact of all of Atlee’s films, even though their narratives often incorporate elements from different movies.