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But Anbu’s fate is intertwined with this blood-soaked moment (as narrated by Vetrimaaran in a brooding voice-over). The story’s protagonist Anbu (the wonderfully restrained Dhanush) isn’t present in the opening scene and he is said to be just a teenager by this time (1987, the year Tamil Nadu’s Chief Minister MG Ramachandran passed away which seems to have an indirect influence on the bloody events). Also, Read – Chekka Chivantha Vaanam Review – A Tale of Violent Feud with Plenty of Swagger but no Heart Soon, like the sickle casually thrown upon the table their lives get tossed, new enmities are developed, as the cycle of violence, greed, and repression continues. The four perpetrators sit around in a relaxed manner and sort out the details. Then the film opens with a brilliant, high-pressure moment: a sickle soaked in the blood falls on a table littered with cigarette butts and alcohol.
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With Vada Chennai ( ‘North Chennai’, 2018), the director once again ably marries raw realism with discernible masala moments.Īnticipating the criticism persistently heaped upon Tamil cinema’s treatment of North Chennai (as a safe haven for dons), the film begins with a sort of disclaimer that this isn’t a well-rounded portrayal of North Chennaites.
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While Vetrimaaran’s story-lines aren’t original, his remarkable ability to weave conflicts and bring forth grey shades in characters has repeatedly provided us with hard-hitting movie experience. Visaranai (2016) was largely devoid of the compromises, compared to the director’s earlier works: Polladhavan (2007) and Aadukalam (2011), films that tried to balance the star and actor within Dhanush. While his depictions are suffused with authenticity, Vetrimaaran doesn’t entirely distance himself from few of the commercial diktats. Tamil film-maker Vetrimaaran is interested in portraying the downtrodden, their social milieu and its challenges. Vada Chennai – A Gripping Slow-Burn Crime Drama