Vijay at 51: 7 roles that brings out the actor in the 'mass' hero
From Kaththi to Master, a look back at the Tamil superstar’s seven finest performances that revealed his emotional depth, vulnerability, and lasting cinematic power.
Vijay can make a theatre erupt with just his presence. He is often boxed into labels like ‘mass hero’, ‘box-office king’ and ‘Thalapathy’. While those titles fit (no arguments there), they also distract from the core truth – Vijay’s immense acting ability.
As he turns 51 on June 22, it is the perfect time to look beyond the superstardom and revisit seven standout performances that reveal the powerhouse actor beneath the mass-hero persona.
Kaththi: This was the film that silenced critics who believed Vijay could only do ‘mass’ roles. Kaththi was not just a blockbuster – it was a benchmark in his career. And not because of the double role. Vijay pulled off something rare: he made you feel the difference between two men who looked the same but led entirely different lives. His restrained, nuanced portrayal of Jeevanandham, the social activist, stood in sharp contrast to the brash but evolving Kathiresan. The press meet sequence remains a highlight – powerful, emotional, and unforgettable.
Actor Vijay
Thuppakki: This was not just another action film – it redefined the template for commercial Tamil cinema. As army officer Jagadish, Vijay owned every frame with style, confidence and charisma. The tight screenplay fused slick action with smart plot, proving that mainstream cinema could be both intelligent and crowd-pleasing. The iconic interval line, “I’m waiting”, became a cultural moment in itself – short, sharp, and entirely unforgettable.
Mersal: Every superstar has a defining moment, and for Vijay, Mersal was it. Directed by Atlee, who balances emotion with spectacle, the film gave Vijay a platform to showcase his range and command. Playing three characters – Vetri, Maaran and Vetrimaaran – he did not just switch roles; he shifted energy, tone and rhythm. A particularly moving hospital scene peeled away the mass-hero veneer to reveal raw grief and moral outrage. It was a reminder that Vijay’s emotional depth is just as compelling as his screen presence.
Simran and Vijay
Thullatha Manamum Thullum: Long before the Thalapathy era, Vijay charmed audiences with his performance as Kutty, an innocent singer entangled in a tragic love story. There was no grand hero entry here – just a man who had spent years in prison for a crime he did not commit, unsure of whether his lover was still alive. Director Ezhil opened the film on a sombre note, setting the tone for a romantic drama that won hearts, making Vijay and Simran a beloved pair in Tamil cinema. Vijay’s breakdown after learning of his mother’s death – alone, in a toilet – was a quietly devastating scene that showcased his early acting strength.
Master: In Master, Vijay stepped away from his typical invincible roles to play JD, an alcoholic professor haunted by personal failures. This was a flawed, deeply human character – one who made mistakes and sought redemption. Critics noted the vulnerability in his performance as a refreshing shift. Under Lokesh Kanagaraj’s direction, Vijay brought restraint and reflection to the role. And what is rare in Tamil cinema? A superstar letting a co-star (Vijay Sethupathi, in top form as Bhavani) steal scenes – and still holding his ground. Vijay did just that.
Shalini and Vijay
Ghilli: A masterclass in commercial cinema, Ghilli turned Vijay into an unstoppable box-office force. A remake of the Telugu film Okkadu, Dharani’s version arguably outdid the original. Vijay’s energy as Saravanavelu electrified the screen, and Vidyasagar’s soundtrack only amplified the impact. The cat-and-mouse tension with Prakash Raj’s now-iconic antagonist Muthupandi kept viewers hooked. Ghilli redefined action-entertainers and became a cult classic – so much so that its 2024 re-release drew crowds back to cinemas, proving its enduring appeal.
Kadhalukku Mariyadhai: This film was a turning point in Vijay’s career. Under Fazil’s sensitive direction and backed by Ilaiyaraaja’s soulful score, Vijay delivered a measured and mature performance as a young man in love. It was a far cry from the louder roles he would later take on – instead, his portrayal here was rooted in simplicity and sincerity. The film’s success firmly established him as a romantic hero and showed his ability to carry emotional material with conviction. It also redefined what a love story could look like in Tamil cinema at the time, making Vijay a household name.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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