When a filmmaker like Vetrimaaran unveils a movie, expectations naturally skyrocket. His track record, starting from Polladhavan, has cemented him as a creator of masterful, gripping narratives. The story may be simple, but Vetri’s writing and screenplay make it extraordinary. With the high benchmark set by the first part of Viduthalai, audiences anticipated another cinematic triumph in its sequel. While the film delivers in parts, it falters in parts due to its attempt to preach political ideologies.
A Tale Of Two Perspectives
In Viduthalai Part 1, the story is told from Kumaresan’s perspective. His journey grips the audience, evoking empathy and emotional investment. The sequel shifts gears, focusing on Vaathiyar’s backstory, which begins with promise. Ken Karunas’s episode is a standout moment skillfully executed. However, the narrative soon meanders, overwhelmed by an overreliance on dialogue and heavy-handed political discourse. While these elements reflect Vetrimaaran’s penchant for bringing politics into his films, they come at the cost of emotional depth and character connection.
Furthermore, the narrative glosses over the nuanced historical and ideological distinctions between the Dravidian and communist movements, offering an oversimplified portrayal. Red shirts and Black Shirts are hailed as saviours, and the Dravidian movement’s negative effects, such as high political corruption, are given a free pass. Just to establish that Perumal is a rebel, there are scenes after scenes and dialogues after dialogues to drive home this point.
Vaathiyar’s transformation into a revered figure lacks the emotional punch needed to make it impactful. This disconnect hampers the audience’s ability to fully immerse themselves in his journey. The interval sequence, which could have been a high point, feels underwhelming due to the lack of narrative weight and a poorly matched background score.
The film regains momentum in the second half, returning to Soori’s perspective and delivering more compelling scenes. These moments bring some much-needed emotional gravitas and narrative closure, albeit not without leaving some threads untied. Notably, the fate of Thamizharasi, whose beautifully depicted romance in the first part was a highlight, is frustratingly sidelined in the sequel. This oversight feels like a missed opportunity to tie up one of the most resonant aspects of the story.
As expected, Vetrimaaran’s craftsmanship shines through in the technical aspects. The cinematography and set design immerse viewers in the film’s world, but the makeup and hairstyling fall short, at times feeling amateurish. Ilayaraja’s music is a mixed bag; while the songs are commendable, the background score struggles to align with the film’s tone, particularly during pivotal moments like the interval block.
The performances remain the film’s strongest asset. Vijay Sethupathi and Soori deliver nuanced portrayals, while Chetan, as in the first part, steals every scene he’s in, earning the title of MVP. Ken Karunas, despite limited screen time, leaves a lasting impression. Additionally, a surprise cameo from a familiar face in Tamil Nadu’s digital media landscape with an army background adds an intriguing layer to the film.
Verdict
While Viduthalai 2 has moments of brilliance and compelling performances, it often veers off course, prioritizing long-winded political ideology over meaningful storytelling. The result is a film that feels more like a lecture than an engaging narrative, leaving the audience disconnected and yearning for the emotional depth and tight focus of its predecessor. It falls short of the greatness typically associated with Vetrimaaran’s work. The film’s ideological heaviness takes a toll on the film and pulls it down weighed down further by excessive exposition and unfinished arcs. It’s a worthwhile watch, but not Vetrimaaran’s finest.
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