Leo and beyond, Lokesh Kanagaraj isn’t just another mass movie director: Why his worlds appear more alluring than his peers

Though this alteration might seem minor, as the moment plays a key role in establishing the characters of Tom Stall and Parthiban, it highlights their differences. While Cronenberg’s protagonist built his new world through layers of lies, exemplified by his choice of a new name simply because “it was available”, Lokesh Kanagaraj’s hero meticulously crafted Parthiban’s world, creating concrete evidence to support his claims. This underscores his determination to keep his identity hidden at any cost, whereas Stall always confidently assumed his true identity would never be exposed.

One of the captivating aspects of Lokesh Kanagaraj’s films is his profound understanding of his characters, particularly the protagonists.

Lokesh Kanagaraj with ‘Thalapathy’ Vijay on the sets of Leo. (Image: Lokesh Kanagaraj/Facebook)

Notwithstanding consistent and justified critiques that his films excessively glorify and idealise violence and that they rarely give space to female characters, Lokesh Kanagaraj currently stands as one of India’s most celebrated filmmakers.

Unlike many of his peers who achieved similar status, Lokesh’s fame does not originate merely from blowing up cars, archaic sets, superhuman spies, or other such clichés. Rather, it’s his intricate storytelling and distinct filmmaking style that endear him to audiences.

The wounded heroes…

Unlike typical (wounded) heroes, who are often depicted as victims of a faulty system or intricate schemes, Lokesh’s protagonists are those grappling with the remorse stemming from their own actions or lack thereof. While Sri’s character in Maanagaram is furious at himself for arriving in Chennai and not being able to do anything when his life is coming tumbling down, Dilli (Karthi) in Kaithi still mourns the lost opportunity to be with his daughter, whereas Vikram (Kamal Haasan) regrets not being there for his son and his inability to stop drug trafficking which eventually led to his son’s death. Even Amar (Fahadh Faasil) in Vikram realises the relevance of the Ghost and becomes one himself after he is unable to prevent the brutal murder of his wife (Gayathrie Shankar). Initially portrayed as reckless, John Durairaj aka JD (Vijay) in Master is also plagued by grief after realising he could have prevented the murder of two children in the jail. Leo, on the other hand, is haunted by memories of his late sister Elisa (Madonna Sebastian). This perpetual haunting deeply troubles Parthiban due to his dissatisfaction with his past behaviour as well.

However, what unites all these characters is their commitment to personal growth and the pursuit of something more meaningful. Though they are wounded and aware of the repercussions of their in/actions, none of these heroes chooses tit-for-tat retaliation when the opportunities arise. Instead, they focus on weeding out the root cause that empowers their rivals and/or engage in a fight for a greater purpose. As the protagonist in Maanagaram gradually comprehends that the city isn’t at fault, he comes to the realisation that revolution begins at home and within oneself. Though Dilli’s main goal is to reunite with his daughter, it is later revealed that his objectives are also linked to a broader plan. JD’s focus isn’t solely on eliminating Bhavani (Vijay Sethupathi), but also on creating a better environment for children in conflict with the law. While Vikram’s motives are clear from the onset of the second half, Parthiban is mostly striving for a personal cause that involves living a peaceful life with his family, which also grows bigger when he receives a call from Agent Vikram at the end.

Lokesh Kanagaraj with Kamal Haasan on the sets of Vikram. (Image: Lokesh Kanagaraj/Facebook)

…who are far more dangerous than their rivals know

Despite Lokesh’s heroes attempting to lead more subdued lives in contrast to typical male protagonists in actioners, the appeal of his movies to viewers, particularly men, lies in their awareness of the heroes’ capabilities. While the villains remain oblivious, the audiences are already well-informed about the extent to which the heroes can unleash their inner strength. Although it’s only towards the climax that Anbu (Arjun Das), Bhavani and Sandhanam (Vijay Sethupathi) comprehend the full strength of their rivals, audiences have already caught glimpses of this and are eagerly anticipating the ultimate showdown when the heroes go all-out.

The strategic placement of a dialogue similar to A History of Violence’s “I should have killed you back in Philly” in Leo also highlights the same. While Stall says this to Carl Fogarty (Ed Harris) as Fogarty prepares to shoot him, indicating Stall’s regret for not doing it, Parthiban utters a similar line to Harold Das (Arjun) just before pulling the trigger on the latter, after revealing his true identity as Leo. This highlights that Leo intentionally chose to spare his uncle, despite Harold being “responsible for the death of Elisa”, underlining his absolute power.

Lokesh Kanagaraj with Vijay Sethupathi on the sets of Vikram. (Image: Lokesh Kanagaraj/Facebook)

Anti-drugs, pro-violence

The fascination of viewers with violent scenes is consistently examined and thoroughly discussed each time a new action film is released, with Lokesh’s post-Maanagaram movies taking the lead in these conversations. On the other hand, despite his protagonists’ efforts to promote a drug-free community, Lokesh has also faced criticism for glorifying drug usage.

Mentioning that he doesn’t take much from these particular criticisms by noting that some viewers enjoy on-screen violence, Lokesh recently told Galatta Plus if his films were to suggest that consuming a certain drug grants superpowers, it should be a matter of shame for him.

According to Lokesh, all his characters are striving for a drug-free society, necessitating the portrayal of the reality of drugs. He also expressed that his films are not to be considered violent but rather fall under the globally prevalent action genre.

Given the enduring popularity of on-screen depiction of drugs and violence among Indian audiences, as evidenced by the significant success of such films, Lokesh’s films’ portrayal of violence and the shadowy realm of criminal activities have obviously garnered favour from viewers. Additionally, the mostly well-intentioned nature of the heroes makes them easily marketable, consequently boosting the films’ popularity. “One man’s terrorism is another man’s revolution,” Vikram quotes in a poignant moment, reflecting Lokesh’s potential response to the aforementioned criticisms.

Kamal Haasan in Vikram. (Image: Asianet Movies/YouTube)

Villains

Another factor that adds to the charm of Lokesh Kanagaraj’s movies is that they are not mere celebrations of the stars featured in them, in contrast to most Indian mass films. In fact, most of his movies are explorations of the central characters, with the only exceptions being Master and (to some extent) Vikram. While Maanagaram anatomises both the city and its inhabitants, Kaithi and Leo thoroughly examine their main characters, providing a comprehensive analysis of their various attributes, including their subtleties and vulnerabilities.

This is also why Lokesh’s villains come across as so formidable, as we rarely get to witness such dimensions of their personalities, except for the glimpses of fear that surface towards the conclusion when their defeat is imminent. Even in Maanagaram, although the villains display fear for the most part, since we never see them in their moments of vulnerability like Sri or Sundeep Kishan’s characters, viewers are left unsure of the extent to which the villains would go.

This sense of perpetual fear diminishes in the villains from Kaithi onwards, and we only witness them experiencing this emotion towards the end. As a result, Adaikalam (Harish Uthaman), Anbu, Bhavani, Sandhanam, Antony Das (Sanjay Dutt), and Harold seem much larger and more capable than the heroes, with the amalgamation of all these villains and the culmination of everything evil being Rolex (Suriya).

Suriya as Rolex, Lokesh Cinematic Universe’s main antagonist, in Vikram. (Image: Sony Music South/YouTube)

The highs

At the same time, Lokesh also stands out among mainstream directors, who constantly make mass films, by only rarely incorporating fan-service elements, including songs that overly glorify the lead stars or dance numbers. Rather, the appeal of his films lies in their well-crafted narratives and distinctive focal points. While Master faced criticism for deviating from Lokesh’s signature style and prioritising Vijay’s stardom, in Leo, he rectified this issue with the same actor, presenting a previously unseen side of Vijay.

Since moments, not stars, create the highs in his films, Lokesh’s works manage to retain their charm even upon repeat viewings or when streamed on OTT platforms.

Lokesh Kanagaraj with Vijay Sethupathi and Fahadh Faasil on the sets of Vikram. (Image: Lokesh Kanagaraj/Facebook)

The strategic placement of title cards, which bear the movie’s title and the name of the lead actor, reinforces this. Instead of simply presenting them at the beginning in a traditional manner, Lokesh ensures they contribute to the excitement already established by the pivotal moments. This is exemplified by the Marvel-inspired title card of Thalapathy Vijay in Leo, featuring extreme close-ups of his eyes.

At the same time, the seamless intercuts between the hero and villains’ worlds, without disrupting the natural progression of the narrative, also serve to maintain the viewers’ engagement by consistently offering glimpses of their actions and power.

Lokesh Kanagaraj with ‘Thalapathy’ Vijay on the sets of Master. (Image: Lokesh Kanagaraj/Facebook)

Easter eggs, tributes and inspirations

Much like Hollywood filmmaker Quentin Tarantino, whom he greatly admires, Lokesh also incorporates numerous Easter eggs in his movies and pays homage to iconic moments from various revered works from the past. This also significantly contributes to the appeal of Lokesh’s films as his adept incorporation of references seamlessly blends into the movie’s overall atmosphere. An avid fan of Kamal Haasan, Lokesh includes nods to many of the actor’s earlier works in all his films. While Kaithi draws upon elements from Virumandi (2004), Master takes heavy inspiration from Nammavar (1994), even referencing JD’s past connection with a lecturer named Selvam, reminiscent of Kamal’s character in the latter film. Similarly, Vikram, featuring Kamal himself, serves as a spiritual successor to Aandavar’s 1986 spy film of the same name. In Leo, on the other hand, Lokesh pays tribute to the 1982 classic Moondram Pirai by making Parthiban name the hyena “Subramani”.

Beyond these direct (Kamal) references, Lokesh’s films also pay homage to various old films through background songs, specific actions, moments and dialogues, as well as technical elements like lighting. While Kaithi draws inspiration from Die Hard too, Vikram captures the mood and certain moments from Christopher Nolan’s The Dark Knight trilogy, evident in the final scene where Kamal meets his young grandson at a coffee shop, sharing a private glance akin to Bruce Wayne and Alfred Pennyworth’s final moment in The Dark Knight Rises (2012).

Lokesh Kanagaraj with Fahadh Faasil on the sets of Vikram. (Image: Lokesh Kanagaraj/Facebook)

In both Master and Leo, the films pay tribute to several of Vijay’s earlier works, incorporating iconic actions and moments, including in songs. Additionally, Lokesh recently acknowledged that Vijay’s iconic Russian Roulette shots in the film were inspired by various foreign films.

On the other hand, his style of cross-referencing the films, paving their way to the Lokesh Cinematic Universe (LCU), using discreet clues, like the scorpion insignia on the contraband parcels, references to a character named Ghost, and the frequent mention of orphanages, encourages audiences to revisit his works, perpetuating ongoing discussions about them.