Thiru Manickam - Review

Manickam (Samuthirakani) lives a modest life with his wife (Ananya), two children, and extended family on the Kerala-Tamil Nadu border. As the owner of a lottery ticket shop, Manickam shoulders numerous responsibilities, including raising money for his daughter’s speech therapy. His moral compass is tested when a poor man (Bharathiraja) picks a lottery ticket and promises to pay for it the next day—only for the ticket to win a bumper prize of ₹1.5 crore. While his family pressures him to keep the unpaid ticket to solve their financial woes, Manickam remains conflicted, torn between righteousness and practicality.

Samuthirakani’s titular role in *Thiru Manickam* embodies the virtues he is often associated with—uprightness, selflessness, and an unwavering commitment to ethical living. The film positions Manickam as a moral paragon, where his values dictate his choices more than any practical considerations. However, the film’s persistent focus on idealistic goodness often veers into preachiness, testing the audience’s patience as it repeatedly hammers home its moral messages.

Without a traditional antagonist, the story relies on Manickam’s righteousness to drive the narrative. While this approach is refreshing in concept, it falters in execution. The film is filled with one-dimensional characters, contrived scenarios, and a lack of emotional depth. For instance, a corrupt cop depends on two "sincere" constables to complete his mission, while a church priest conveniently offers solutions to Manickam’s moral dilemmas. These moments feel forced and uninspired, diluting the film’s impact. The narrative lacks emotional resonance, making it difficult for viewers to connect with its central themes of selflessness and integrity.

The supporting characters and subplots further weaken the film. Thambi Ramaiah’s caricatured portrayal of a London-returned snob feels unnecessary and out of place. His character disappears abruptly in the second half, offering relief from his poorly written arc. Similarly, the dynamic between Manickam and his wife, introduced as a friendship-based relationship, is forgotten as the story progresses, leaving their bond underdeveloped.

The film also stumbles in its portrayal of societal issues. It highlights the struggles of financially weaker sections but fails to take meaningful stands on critical topics like dowry harassment. In one subplot, a woman driven to the brink of suicide due to dowry demands is portrayed as a victim, but the film doesn’t challenge or condemn the systemic wrongs of dowry culture. This lack of nuance undermines the moral weight the film seeks to convey.

Predictability is another major flaw. The story unfolds exactly as expected, offering few surprises or moments of genuine intrigue. *Thiru Manickam* seems content to paint a picture of an idealized world where selflessness always prevails, but this oversimplification comes at the cost of narrative complexity and emotional engagement. Despite decent performances from the cast, the monotonous storyline and lack of stakes leave the audience disengaged.

Ultimately, *Thiru Manickam* is a well-intentioned but poorly executed film. Its relentless focus on moral messaging, coupled with predictable storytelling and underdeveloped characters, makes it a tiresome watch. While it aims to inspire with its portrayal of goodness, it misses the mark, offering little in the way of emotional returns or meaningful reflections on real-life challenges.