A cinephile pal as soon as stated how cinema, each the artwork type and business, is a thriving, sentient being that is aware of who it should embrace or let go, and when it wants what at any particular time. And if we have been to imagine in that fantastical concept, the field workplace rut in 2026 looks like a reckoning name for Tamil cinema’s subsequent torchbearer to rise to the event. There’s a brand new filmmaker within the block, who, by all means, appears to be the recalibrating voice Tamil mainstream cinema wanted.
Sivakumar Murugesan’s debut Thaai Kizhavi is a movie that feels just like the perfection of an archetype many filmmakers have been toying with over the previous couple of years — it’s a rollicking, leave-you-in-splits comedy that surprises you each step of its manner, has a urgent emotional core, fields for the correct progressive register, and leaves you feeling totally glad.
In the colorful world of Thaai Kizhavi, every little thing and something appears spring-loaded to tickle you or sting you. There’s a tattoo of Kamal Haasan’s face on a person’s chest that will get its share of respect; there’s a wayward drunkard whose solely job is to maintain alight a lamp outdoors the Lord Karuppan temple; there’s a loudspeaker that someway is aware of which Kamal music to play when, identical to the picture of a deceased aged man whose expressions hold altering. At the centre of all of it is Pavunuthaayi (Radikaa Sarathkumar is phenomenal), the stronghold round which all of Karumathur pivots, her daughter Suruli (Raichal Rabecca) and her good-for-nothing husband, her three dimwit sons, and a 40-something most-eligible bachelor of the city. Hell, heaven, and Karumathur all transfer round these splendidly written characters.
A nonetheless from ‘Thaai Kizhavi’
Interestingly, the particular person we first meet is the one who would completely bookend this ensemble-driven story — the partitions of the homes in Karumathur function the female and male heads of the household, all besides that of Pennycuick (Munishkanth), who does every little thing he can to get married. Then we meet Pavunuthaayi, who’s a fantastic contradiction of all-embracing love and iron-fisted authority. She prays to many gods of her world for the wellness and prosperity of all beings, a prayer that crescendos right into a Murugan music (Sivakumar Murugesan, curiously, can also be helming Sivakarthikeyan’s next, Seyon, which means ‘Murugan’, additionally set in Karumathur). Her daughter Suruli, in distinction, will get a muted entrance within the massive shadow her mom casts. Every day, when Pavunuthaayi finishes her prayers and steps out of her home, sirens go off within the heads of the townsmen, for they know what’s to return — she would go on a cruel stroll across the city, amassing pursuits on the cash she has lent over time. “Kaal mulachi nadandhu varum ayyanaar aruva iva,” “Local don-u, Sungudi kattivandha Superman-u,” go the lyrics of a music, as on this duality of Pavunuthaayi lies the movie’s sincere core. She as soon as vowed that even when she dies, she would stroll to the graveyard all by herself and lie down. Whether it was the doing of the Yaman, whom she mocks, or the Karuppan, who Vesakutta (Aathadi Kumaran) asks to take Pavunuthaayi away, the aged girl will get bedridden unexpectedly.
Thaai Kizhavi (Tamil)
Director: Sivakumar Murugesan
Cast: Radikaa Sarathkumar, Aruldoss., Munishkanth, Bala Saravanan, Singampuli
Runtime: 144 minutes
Storyline: When their aged mom falls sick, her wastrel sons want for her to die so to acquire her properties, however every little thing goes for a toss after they realise that she had hid 160 sovereigns of gold someplace
The information reaches Pavunuthaayi’s sons, wastrels of every type, who get elaborate introductions that go away you in splits. Vijayan (Aruldoss), an auto driver, is the type who would squander Rs 50 in pursuit of a one-rupee coin. Uppiliyan (Singampuli), a Kamal Haasan fanatic, rents out music techniques to features; he performs solely Kamal songs to the dismay of followers of Rajinikanth, Sathyaraj, Ramki, and Raj Kiran. Meanwhile, flower vendor Selvam’s (Bala Saravanan) garlands all look shriveled — Sivakumar’s brilliance lies in how even Selvam’s relationship with flowers goes on a full journey within the movie. The three prodigal sons all return to Karumathur, not as a result of they’re frightened about their mom, however as a result of she had vowed that none of them would get any share of her properties, at the very least till her dying. A fourth and loud entrance is made by Pavunuthaayi’s son-in-law (Muthukumar), vowing to gather the rest of the dowry owed to him.
Meanwhile, a stranger, carrying white and different markings of a wealthy man, exhibits up and informs the sons of a surprising element about their mom — she had purchased 160 sovereigns of gold from the person’s gold store in Madurai. He exhibits them the receipt, and so they piece collectively that maybe that is what she does in her secret weekly journey to Madurai. Unable to supply the place the place she has hidden the gold, the three males now turn into affectionate sons who hope to treatment their mom from the illness. A hilarious story in regards to the true wealth of life begins.
The energy of Thaai Kizhavi is how organically the items fall into place. Sivakumar hardly misses a beat — even an informal subplot about Suruli’s son’s romance with a younger girl is dealt with with care and goal. Moments that make a crowd burst out in laughter are stacked in a brief joke-per-second ratio, however Sivakumar is aware that no joke is crass, and the correct message comes by way of. For occasion, how Selvam, the one educated man of the lot, struggles to know the English of a health care provider makes for laughs, however the fast subsequent scene garners claps because it exhibits the lead physician explaining to the previous physician the apathy and weak-mindedness of speaking to others in a language they don’t perceive.
Similarly, the usage of hit yesteryear tracks — which has turn into a pattern due to the likes of Lokesh Kanagaraj — hits a peak in Thaai Kizhavi, as Sivakumar shows a fascinating knack to know which lesser-used music (principally of Kamal) works organically and the place; it’s like occurring a visit with a pal who is aware of simply probably the most weird factor to say on the proper time. It isn’t nearly booming the music within the background; Sivakumar adjustments the staging, shot composition, and modifying of the scenes to swimsuit the monitor — like a hilarious bit that options the ‘Kushi’ theme music. Nothing prepares the viewers for the clap-worthy use of ‘Vishwaroopam’ and ‘Karbagraham Vitu,’ that are all set to turn into speaking factors within the upcoming days.
A nonetheless from ‘Thaai Kizhavi’
Sivakumar additionally appears to be a deft screenwriter who is aware of when to scale down and when to shift gears. The post-intermission lull, which has been plaguing many Tamil movies, appears premeditated right here, as Sivakumar lays the groundwork for what’s definitely probably the most satisfying third acts in a mainstream social-comedy. Thaai Kizhavi bats for all the correct issues, and each dialogue uttered within the climax motivated the viewers to hoot and whistle. “Even when they pray to men for creation, protection and destruction, they must pray to women for wealth and education,” goes a type of goosebumps-inducing traces. Perhaps, the one niggle with writing is how one-note Pavunuthaayi’s daughters-in-law (Muthulakshmi, Nirosha and Abinaya) turn into and appear undeserving of the function they play within the climax. Even that appears satisfactory on this in any other case neat movie, which can also be a uncommon breed of social drama that staunchly pokes on the system with out hurting any sentiments or leaving any leeway for counters.
There’s a second within the movie that sends shivers down our backbone; an aged girl whom Selvam comes throughout dies, and the dialogue uttered right here makes you gulp a lump in your throat. But Sivakumar can also be a author of such calibre that even what he needs to not underline — just like the significance of financial savings in a world the place medical bills can finish all fortunes — stays with you.
Throughout Thaai Kizhavi, I typically discovered myself questioning if this was the work of a debutant. This is the work of an all-new filmmaking voice that doesn’t want to be constricted to set patterns. Sivakumar Murugesan has loudly introduced his entrance, and he has all of the indicators of a game-changer that Tamil mainstream cinema has desperately wanted. With Thaai Kizhavi, Tamil cinema has lastly managed to start out firing its cylinders in 2026.
Thaai Kizhavi is presently working in theatres
Published – February 26, 2026 04:35 pm IST
