Viduthalai Part 1
(Tamil, Theatres)
Director: Vetrimaaran
Cast: Soori, Bhavani Sre, Vijay Sethupathi
Rating: 4/5
Filmmaker Vetrimaaran’s prowess in crafting sensible flicks around conflicts between oppressive systems and oppressed people is well known. With his latest Viduthalai Part 1, the director leaves an indelible mark in the genre with an outstanding epic-scale period drama which excels in its blend of masterful visual craft with forthright socio-political positioning.
Based on a short story by author B Jeyamohan, the 145-minutes-long film is essentially a story of friction between an insurgent group called People’s Army and the government set in a Tamil Nadu forest-settlement in 1987. The film follows a morally upright rookie cop Kumaresan (Soori) as he becomes a largely mute spectator of the extreme violence that the rebels-sympathising forest-villagers have to face by the police while defending their resources and dignity.
The nexus between the State power and corporate interests, their never-ending quest for natural resources and the subsequent violence to silence the retaliating victims is an universal phenomenon that has been going on for several centuries. Making explicit his sympathies for the oppressed, Vetrimaaran explores the different layers of violence and shows how the cops too fall prey to the larger scheme of things.
The major highlight of the film is its terrific casting. Soori, who was restricted to only cringe comedy sequences in many films, finally gets his due here with a serious role of a vulnerable cop who suffers for his virtues. Veteran filmmaker Gautam Vasudev Menon essays a daunting police officer’s role quite effortlessly.
While renowned cinematographer Rajiv Menon shines in a unique role, Bhavani Sre as the charming and strong-willed villager Tamizharasi is the find of the film.
Vijay Sethupathi as insurgent leader Perumal “Vaathiyar” gets very limited screen time as the film is more focused on the police atrocities. The missing plot points of the first part will be connected in the second installment while the climax teaser for the second part promises more of Sethupathi.
The wedding of romantic sequences with the main plot is deftly done as the two typical Ilaiyaraaja songs and their choreography beautifully add to the pace and need of storytelling and they nowhere feel unnecessary.
Velraj’s cinematography in capturing various emotions, setting the film’s mood and tone, and the whole imagery of forest are striking.
Despite limitations, the filmmaker succeeds in showcasing as many nitty-gritties of conflict-ridden regions with regards to the mighty State going to extremes to achieve its ends.
Although there would be similar violent retaliations by victims, both violence of the oppressor and the oppressed cannot be seen as equal, and Vetrimaaran’s success lies exactly in the persuasive reiteration of this fact through his craft.
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