Vijay Antony unmasks the power game in Shakthi Thirumagan

Vijay Antony isn’t the kind of actor who uses milestones as a springboard for spectacle. As he steps into his 25th film with Shakthi Thirumagan (hitting screens this Friday, Sep 25th worldwide), there are no loud declarations or self-congratulatory campaigns. Instead, what he offers is something far more grounded: a story that digs deep into power, politics, and personal rebellion. A character who doesn’t roar in defiance, but quietly manipulates the system and walks away before the dust settles.

In a recent interview with The New Indian Express, Vijay Antony opened up about Shakthi Thirumagan, and it quickly became clear that this is a project driven more by thought than by theatrics. He plays Kittu – a man described as a fugitive, but far from powerless. Kittu is someone who outsmarts politicians, business tycoons, and even criminals, not with muscle, but with intellect. Vijay likens him to a blend of Vinayagar and Murugar, a mind that calculates like a strategist and a soul that never stops working.

There’s something deeply political about the story, but it never slips into preachy territory. What it does instead is hold a mirror – not just to those in power, but to the people who keep them there. As Vijay Antony points out, change isn’t always about revolution. Sometimes, it’s enough to trigger a thought, even if only briefly. He says this without drama or idealism: “I’m not trying to fix society. But if someone sees this film and questions a decision they made, or thinks about the system a little differently, that’s enough.”

The film is directed by Arun Prabu Purushothaman, best known for Aruvi, and according to Vijay Antony, that’s one of the reasons he said yes to the project. Arun had the script in hand long before they decided to collaborate, and when he narrated it, Vijay Antony didn’t hesitate. There’s no market analysis or hero packaging here. Just a filmmaker with a story, and an actor willing to serve it. He admires directors like Arun for not letting the success of a previous film dictate the next move. That kind of clarity is rare, and it aligns perfectly with Vijay Antony’s own no-frills approach to cinema.

Throughout the interview, one of the most recurring themes is his disdain for over-planning. He believes that trying to control the future can kill creativity. His analogy is simple but sharp: “If you want to make sambar, it is enough if it is tasty. If you think of making the world’s best sambar before you even turn on the stove, you are likely to mess it up.” That idea: of working in the now, of choosing instinct over image runs through every decision he makes. And it’s what drives Shakthi Thirumagan at its core.

Kittu is not a messiah. He’s not here to save the world. He’s a man who’s seen the cracks in the system and decided to exploit them, not for personal gain, but to reveal the truth. He doesn’t chase heroism; he operates in the grey. And that ambiguity is exactly what gives the film its edge. It’s not just about what’s right or wrong: it’s about who controls the narrative and how far someone will go to shift it.

Even as Shakthi Thirumagan heads for release, Vijay Antony isn’t fixated on what comes next. Yes, there’s Lawyer in December. Yes, there’s a film with Sasi lined up for next year. But none of this feels like a ladder he’s climbing. He’s just picking what excites him – whether it’s acting, composing, or working on someone else’s vision. There’s a quiet defiance in that, a refusal to play by rules that don’t interest him.

Shakthi Thirumagan isn’t just a film marking a milestone – it’s a reminder that impact doesn’t always have to be loud. Sometimes, it’s the quiet, cunning minds who create the biggest waves. And Vijay Antony, with his thoughtful rebellion and calculated choices, continues to be one of Kollywood’s most intriguing disruptors.

This milestone film for Vijay Antony is also gearing up for a Telugu release under the title Bhadrakaali. With advance bookings likely to open later today or tomorrow, the film signals his return to mainstream commercial cinema, after a string of intense thrillers in recent years.