With Jana Nayagan emerging as one of the most keenly awaited Tamil films, director H Vinoth is currently immersed in completing the final stages of the project ahead of its Pongal release (Jan 9th). The film has drawn immense attention as it marks Thalapathy Vijay’s final film before his full-fledged political journey, adding emotional and cultural weight to the project.
In a candid interaction with Vikatan, Vinoth reflects on his experience of directing Vijay for the first time. He describes it as both fulfilling and creatively enriching, noting that the team began filming only after the announcement that Jana Nayagan would be Vijay’s last film as an actor. Interestingly, Vinoth clarifies that there was no pressure surrounding that aspect. The director consciously chose not to shroud Vijay’s character in mystery, revealing early on that the star plays a police officer.
Though the film’s overall shoot extended beyond 100 days, Vijay was on set for 84 days, an experience Vinoth compares to witnessing “84 Vijay films unfold.” He calls Vijay a complete star-actor and adds that his understanding of cinema goes far beyond performance. According to Vinoth, Vijay possesses a deep grasp of technical aspects such as lighting, lenses, and shot continuity: often rivaling that of seasoned directors. Every day on set, Vinoth says, was a rewarding experience, as Vijay consistently brought unexpected layers to written scenes. He also highlights the clear distinction between Vijay’s public persona, his off-screen personality, and the commanding presence he brings in front of the camera.
Speaking about the film’s ensemble, Vinoth explains that Jana Nayagan primarily revolves around the narrative interplay between Vijay, Bobby Deol, and Mamitha Baiju, with other accomplished actors like Pooja Hegde, Prakash Raj, Revathi, Priyamani, and Gautham Vasudev Menon playing roles that organically serve the story. He notes that the reason behind the film’s title will become clear only after watching the movie.
On Pooja Hegde, Vinoth praises her discipline and professionalism. Despite having a limited role, she chose to be part of the film with full commitment. He points out her sensitivity on set, especially her willingness to retake shots until the director was fully satisfied—something he considers a rare and admirable quality.
Vinoth reserves special praise for Mamitha Baiju, calling her the “darling” of the unit. While she may appear youthful, he describes her as an exceptionally sensible and dedicated performer. Beyond her acting and action sequences, what impressed him most was her commitment during dubbing. Despite being a Malayali actor, Mamitha went to great lengths to achieve precise Tamil pronunciation, even requesting continuous dubbing takes to preserve emotional continuity: an effort Vinoth found deeply admirable.
Discussing Bobby Deol, who plays the antagonist, Vinoth expresses surprise that Hindi cinema has not fully utilized his potential as an action star. He describes Bobby as understated off screen but powerfully effective on screen, delivering performances that exceed what is written on paper. Vinoth adds that he would readily cast Bobby again if he were to direct a Hindi action film.
On the technical front, Vinoth speaks highly of composer Anirudh Ravichander, calling him one of the hardest-working artists he has ever collaborated with. He dismisses the idea of “luck” surrounding Anirudh’s success, attributing it instead to relentless effort and creative obsession. Vinoth explains how Anirudh continuously refines his compositions, building them layer by layer until they reach their full impact.
He also acknowledges cinematographer Sathyan Sooryan, noting that he was deeply involved not just in visuals but also in shaping the screenplay across multiple drafts. Art director Selvakumar is praised for his perfectionism, often correcting details that might never even appear prominently on screen. Editor Pradeep E Raghav is described as highly sensitive and collaborative, contributing to an enjoyable and productive post-production process.
Vinoth also opens up about producer Venkat K Narayana of KVN Productions, calling him a bold and confident producer. Initially apprehensive about pitching politically charged elements, given Vijay’s political entry: Vinoth says those concerns were quickly dispelled. The producer not only accepted the ideas but actively contributed political inputs, never once questioning expenses, and trusting the team to deliver within the agreed budget.
Addressing rumors about Jana Nayagan being a remake of the Telugu film Bhagavanth Kesari, Vinoth maintains a measured stance. He reiterates that audiences need not worry about labels such as “remake” and urges them to judge the film after watching it. According to him, upcoming teaser, trailer, and songs will offer clearer insight, but he refrains from giving a definitive yes or no.
Reflecting on the grand audio launch in Malaysia, Vinoth says the scale of the event left him awestruck rather than merely emotional. With over 75,000 people inside the stadium and nearly one lakh more outside, fans who traveled from countries including France, Germany, Australia, and Sri Lanka – the event set records and showcased Vijay’s unparalleled global fan base. The nine-hour-long show, Vinoth says, sustained extraordinary energy throughout.
Finally, sharing his thoughts on Vijay’s political entry, Vinoth says it comes as no surprise. He points out that Vijay’s political intent has been evident for years, even before Thalaivaa. Vinoth believes Vijay’s greatest strength lies in his resilience: having faced setbacks, humiliation, and pressure before rising through discipline and hard work. While acknowledging that politics is far more demanding than cinema, Vinoth expresses confidence that Vijay has the determination to navigate its complexities. If he can manage the varied personalities politics attracts, Vinoth firmly believes Vijay will succeed in this new chapter.