Nayakan vs Thug Life: 5 Striking Parallels Between Mani Ratnam’s Kamal Haasan Gangster Masterpieces

The cinematic world witnessed a momentous reunion when legendary actor Kamal Haasan and acclaimed director Mani Ratnam collaborated once again after 38 years with “Thug Life,” their latest gangster drama that hit theaters on June 5, 2025. This highly anticipated project marks their first collaboration since the iconic 1987 masterpiece “Nayakan,” a film that not only redefined Tamil cinema but also established both artists as formidable forces in Indian filmmaking. The excitement surrounding this reunion has been palpable among cinema enthusiasts, particularly because both films share remarkable similarities that go far beyond their shared creative team.

“Nayakan,” loosely inspired by the life of real-life Mumbai crime boss Varadarajan Mudaliar and drawing thematic elements from Francis Ford Coppola’s “The Godfather,” became a watershed moment in both Kamal Haasan’s and Mani Ratnam’s careers. The film’s exploration of morality, power, and redemption within the criminal underworld set a new benchmark for Indian gangster cinema.

Now, with “Thug Life,” audiences are witnessing what many consider a spiritual successor that echoes the profound themes and narrative complexity that made “Nayakan” a timeless classic. The parallels between these two films reveal not just the consistency of Mani Ratnam’s vision but also Kamal Haasan’s commitment to portraying complex characters who navigate the treacherous waters between right and wrong.

The Sakthivel Connection: Character Names and Identity Threads

One of the most striking parallels between “Nayakan” and “Thug Life” lies in the protagonist’s identity. Both lead characters are named Shakthivel Naicker, with Kamal Haasan introducing himself as Rangaraya Sakthivel Naicker in the newer film. This deliberate choice by Mani Ratnam goes beyond mere nostalgic reference—it establishes a thematic continuity that suggests these characters exist within the same moral universe, even if their stories unfold in different times and circumstances.

In “Nayakan,” Sakthivel “Velu” Naicker emerges as a reluctant don who rises from the slums of Mumbai’s Dharavi to become a powerful underworld figure. His journey is marked by a constant struggle between his inherent goodness and the violent world he inhabits. Similarly, in “Thug Life,” Rangaraaya Sakthivel is portrayed as a feared mafia kingpin in New Delhi who seeks redemption and revenge after being betrayed by his brother. Both characters carry the weight of their names like a burden, representing the duality of their existence as both protectors and destroyers.

The significance of retaining the Sakthivel identity extends to the cultural and symbolic meaning embedded within the name itself. In Tamil culture, Sakthivel refers to Lord Murugan, the deity associated with war and victory, suggesting that both characters are warriors in their own right, fighting battles that extend beyond mere criminal activities. This naming convention creates an invisible thread connecting the two films, suggesting that the essence of the character transcends individual storylines to represent a timeless archetype of the conflicted anti-hero.

Gangster Genre Mastery and Narrative Structure Similarities

The stories revolve around gangster lives, and the narrative spans multiple timelines, showcasing Mani Ratnam’s consistent approach to storytelling within the crime drama genre. Both films employ sophisticated narrative techniques that weave together past and present, allowing audiences to understand how circumstances shape the protagonists’ moral choices and ultimate destinies.

“Nayakan” pioneered the multi-generational storytelling approach in Tamil cinema, following Velu Naicker’s evolution from a young refugee to an aging don grappling with the consequences of his choices. The film’s structure allows viewers to witness the gradual transformation of an innocent man into a feared criminal, while never losing sight of his humanity. “Thug Life” employs similar narrative complexity, presenting Sakthivel’s story through multiple temporal layers that reveal the intricate web of relationships, betrayals, and loyalties that define the criminal underworld.

The gangster genre itself becomes a vehicle for exploring deeper philosophical questions about power, justice, and moral ambiguity. Both films resist the temptation to present their protagonists as purely heroic or villainous figures. Instead, they create complex characters who operate in moral gray areas, making decisions that are simultaneously understandable and troubling. This nuanced approach to character development sets both films apart from conventional crime dramas and establishes them as sophisticated character studies disguised as action films.

Thematic Exploration of Death, Loyalty, and Redemption

Thug Life opens with a voiceover reminiscent of a line in Nayakan about a man making peace with death, as both Sakthivels have that in common—death follows them wherever they go. This profound thematic connection reveals the existential weight that both characters carry throughout their respective narratives. The omnipresence of death in their lives is not merely a plot device but a fundamental aspect of their character development and worldview.

In “Nayakan,” Velu Naicker’s relationship with death evolves from fear to acceptance, ultimately reaching a state of philosophical resignation where he understands that his life choices have made death an inevitable companion. The film’s exploration of mortality is intertwined with questions of legacy and meaning, as Velu grapples with what he will leave behind for future generations. “Thug Life” continues this thematic exploration, presenting a protagonist who has already made peace with his mortality and now seeks to find redemption before his inevitable end.

The concept of loyalty emerges as another parallel theme, with both films examining how personal relationships become both sources of strength and vulnerability in the criminal world. Betrayal by trusted associates drives the narrative tension in both stories, highlighting the precarious nature of alliances built on fear rather than genuine affection. The pursuit of redemption becomes the ultimate goal for both Sakthivels, as they seek to balance the scales of justice through their final actions, hoping to find some measure of peace before their stories conclude.

Cinematic Collaboration and Creative Vision Consistency

Mani Ratnam has revealed that Nayakan and Thug Life happened in similar ways, suggesting that the creative process behind both films followed comparable patterns of inspiration and development. This insight into the filmmaker’s approach reveals the consistency of vision that has characterized his collaboration with Kamal Haasan across decades of cinema.

The partnership between Mani Ratnam and Kamal Haasan represents one of the most successful actor-director collaborations in Indian cinema. Their shared commitment to creating authentic, complex characters within carefully crafted narratives has resulted in films that transcend entertainment to become cultural touchstones. The creative synergy between them allows for a level of artistic risk-taking that is rare in commercial cinema, enabling them to explore controversial themes and present morally ambiguous characters without compromising their artistic integrity.

A. R. Rahman scores the music in his eighteenth consecutive film with the director, while retaining his norm technicians including editor A. Sreekar Prasad, production designer Sharmishta Roy. This consistency in the technical team creates a distinctive aesthetic and emotional resonance that connects both films beyond their narrative similarities. The retention of key collaborators ensures that the films share not just thematic elements but also a consistent visual and auditory language that enhances their connection.

Cultural Impact and Legacy Connections

Thirty-eight years after ‘Nayakan’, which stormed into theatres and ran for more than 200 days, Kamal and Mani Ratnam are back with another magnum opus. The cultural significance of “Nayakan” created enormous expectations for “Thug Life,” with audiences hoping to recapture the magic of the original while experiencing something entirely new.

“Nayakan” fundamentally changed the landscape of Tamil cinema by proving that regional films could achieve both critical acclaim and commercial success while tackling serious social issues. The film’s influence extended beyond entertainment, sparking discussions about urban poverty, social justice, and the complex factors that drive individuals toward criminal activities. Its portrayal of the Mumbai underworld through Tamil sensibilities created a unique cinematic language that influenced countless subsequent films.

“Thug Life” carries the weight of this legacy while attempting to establish its own cultural relevance. The film releases on June 5, 2025, 38 years since Kamal Haasan-Mani Ratnam’s first film Nayakan (1987)—a loose adaptation of director Francis Ford Coppola’s epic crime drama, The Godfather (1972). This temporal gap allows the newer film to comment on how the criminal underworld and society itself have evolved over nearly four decades, while maintaining the core themes that made the original so compelling.

Technical Excellence and Production Value Comparisons

The production values and technical excellence of both films reflect the evolution of Indian cinema while maintaining consistent artistic standards. “Nayakan” was groundbreaking for its time in terms of realistic portrayal of urban poverty and violence, using innovative cinematography and sound design to create an immersive experience. “Thug Life” benefits from advances in filmmaking technology while maintaining the authentic, gritty aesthetic that characterized its predecessor.

Both films demonstrate Mani Ratnam’s mastery of visual storytelling, using cinematography not just to capture action but to convey emotional states and thematic elements. The attention to detail in production design, costume, and makeup creates believable worlds that serve the narrative while providing visual feast for audiences. This commitment to technical excellence ensures that both films stand as examples of superior craftsmanship in Indian cinema.

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