Viduthalai Movie Review

Many two-part movies could have been better as a single film, a trend that started with Bahubali. Most of these don’t fully justify the split. Even Ponniyin Selvan might have worked better as a single-part movie. However, splitting Viduthalai into two parts was an excellent decision, both artistically and possibly financially. The first part is slow and lyrical, gradually building the drama and setting the stage through Soori’s character (Constable Kumaresan). The second part focuses heavily on Vijay Sethupathi’s arc, once again concluding with Soori. This dynamic bears some resemblance to the triangle in Porambu Ennum Podhuvudamai involving Arya, Vijay Sethupathi, and Shyam.

The casting in the movie is exceptional, with every actor perfectly suited to their role. Amudhan (portrayed by director Tamizh) is reintroduced near the climax, and despite his brief screen time, the film effectively builds a sense of animosity towards him. The movie also features other impactful performances from actors like Chetan, Rajiv Menon, GVM, and several lesser-known faces in smaller roles.

Vijay Sethupathi's narrative style, often driven by anecdotes, feels like a genre in itself, and this film unexpectedly incorporates that element, making it incredibly entertaining. The movie explores themes of communism, much like VJS's Laabam, but executes it far more effectively. Sethupathi’s character, a social activist, undergoes a compelling arc of self-discovery, grappling with the moral dilemma of whether to resort to violence, which is portrayed in a deeply moving manner. The romantic subplot between Vijay Sethupathi and Manju Warrier is also beautifully executed.

The movie may not be a flawless symphony, but it is crafted with remarkable precision. At times, it leans towards "edutainment," blending education with entertainment. In Peranmai, Jayam Ravi introduces basic economic concepts, emphasizing that weapons alone cannot secure a nation without a robust economic foundation. Similarly, this film incorporates lectures that are not only informative but also highly engaging, a stark contrast to Laabam, which attempted the same but faltered. Tamil cinema has made significant strides, evolving from tackling caste oppression to now addressing class oppression as well.

The film’s standout strength lies in its faceless antagonist: the system itself, portrayed through an intricate network of bureaucrats pulling the strings. Rajiv Menon shines in his role as the chief secretary, a decision that works better than placing the authority with Ilavarasu’s minister. Rajiv Menon is an excellent casting choice, and at times, his performance even surpasses GVM’s. While Digarthanda Double X explored a similar theme of political intrigue, it suffered from forced cinematic indulgences. In contrast, this movie stays focused, leaving the resolution open-ended while subtly hinting at possibilities through the arcs of Vijay Sethupathi and Soori.

The flashback sequences featuring Vijay Sethupathi felt visually overwhelming with excessive color contrast. While some accents were spot on, a few characters struggled with their Tamil delivery, making their dialogues seem forced. Ilayaraja’s music, while not extraordinary, provided adequate support to the narrative. However, these minor flaws are overshadowed by the film’s strengths. Overall, it’s a compelling watch and arguably Vetrimaaran’s finest work to date.