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Release Date : April 15, 2023

123telugu.com Rating : 3/5

Starring: Soori, Bhavani Sre, Vijay Sethupathi, Chetan, Gautham Vasudev Menon, Ilavarasu, Balaji Sakthivel, Tamizh and others

Director: Vetrimaaran

Producer: Elred Kumar

Music Director: Ilaiyaraaja

Cinematography: R Velraj

Editor: R Ramar

Related Links : Trailer

National Award-winning director Vetrimaaran is back with a new film titled Viduthalai Part 1. The Tamil film, which was released last month, is now dubbed in Telugu and has hit the screens today. Check out our review to know how it is.

Kumaresan (Soori) gets appointed as a police officer in a sensitive village surrounded by dense forests and jagged routes on the Tamil Nadu-Karnataka border. He serves as a driver in the police camp, where his superiors are leading a mission called Operation Ghost Hunt to nab the leader of Praja Dalam, Perumal (Vijay Sethupathi), who opposes the government’s decision of mining the hills for valuable minerals. Unfortunately, none of the police officers is aware of Perumal’s identity and whereabouts, but the honest and upright Kumaresan discovers his location. What happened next? Did the police believe in the tip of a driver? How is Papa aka Tamilarasi (Bhavani Sre) related to this story? Did the police catch Perumal or not? The movie has all the answers.

Plus Points:

Director Vetrimaaran and his movies have a separate fan base. The director always showcases social issues in a realistic style. In Vidudala Part 1, he talks about the police and their behaviour towards the commoners and showcases how policemen treat the general public.

As a story, Vidudala Part 1 is nothing new to audiences. But Vetrimaaran’s style of making is one of the main assets of this period film and makes the audiences glued to their seats.

He also needs to be appreciated for choosing comedian Soori in a serious role. It is quite a surprise to see a comedian in such a serious role and Soori has nailed his character of an upright policeman.

Though the screen time is low compared to other lead characters, Vijay Sethupathi is as usual good in his role. The director also hinted that the second part will focus more on Makkal Selvan.

Bhavani Sre is truly exceptional in the role of Papa alias Tamilarasi. She delivers exactly what the director needs, and she looks more attractive in a non-glamorous role. She needs to be appreciated for taking up this challenging role. Her scenes with Soori are lovely to watch on screen. Gautham Vasudev Menon and Chetan also performed very well. The rest of the actors are just okay.

The dubbing is good. The 4-minute single-shot scene in the beginning, the intense climax portion, and the glimpses of part 2 are worth watching.

Minus Points:

As mentioned above, the story is nothing new to audiences, and what makes it more uninteresting is the slow narration, especially in the second half. Though this is how Vetrimaaran makes films, it is important to know that he needs to write an engaging screenplay to make Vidudala a better film.

Most of the scenes are prolonged with lengthy conversations. Though they are important for the proceedings, they create unnecessary lag and thus make one feel bored.

The excess amount of violence and nudity, specifically in the second half, might disturb a section of the audience.

The other problem with the film is that the majority of actors are unfamiliar to Telugu audiences, and it might be difficult for them to connect with the characters easily. Also, certain scenes soaked in Tamil nativity might not connect well with Telugu audiences.

Technical Aspects:

Director Vetrimaaran must be appreciated for showing reality on screen in a natural manner. He presents exactly what he wants to. As a filmmaker, he succeeded in making people glued to their screens for the most part. But he should have come up with a more engaging narration in the second half.

Director of Photography R Velraj did an amazing job. He showcased his exceptional skills in aerial and extreme wide-angle shots, which are amazing to watch. Tunesmith Ilaiyaraaja gives a lively background score that tunes well with the situations. The film has a couple of songs, and they are also good. Editing should have been better, and the production values are fine.

On the whole, Vidudala Part 1 is a realistic period cop drama that has some well-executed moments. Vetrimaaran’s making, Soori’s performance, and the climax part worked out very well. You can watch the film this weekend if you manage to bear the adult content and sluggish narration.

123telugu.com Rating: 3/5

Reviewed by 123telugu Team

Click Here For Telugu Review

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Viduthalai: Part 1 (2023)

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Viduthalai Part 1

Critics reviews, audience reviews, cast & crew.

Vetrimaaran

Vijay Sethupathi

Perumal 'Vaathiyaar'

Gautham Menon

Prakash Raj

Bhavani Sre

More Like This

• తెలుగు

Vidudala Part 1 Review: Gripping But Raw

Movie: Vidudala Part 1 Rating: 2.75/5 Banner: RS Infotainment, Grass Root Film Company Cast: Soori, Vijay Sethupathi, Bhavani Sre, Gautham Vasudev Menon, Rajiv Menon, Balaji Sakthivel, and others Music: Ilayaraja Editor: R.Ramar Art: Jacki Stunt: Peter Hein / Stun Siva Directed by: Vetri Maaran Release Date: April 15, 2023

Vetri Maaran is one of the prominent filmmakers in the Tamil film industry, and his films consistently receive critical acclaim. His latest film, “Viduthalai Part 1,” has been dubbed into Telugu as “Vidudala Part 1.” 

Let's analyze it.

Story: Following the deadly train bombing, the police launch 'Operation Ghost Hunt' to nab Perumal, the leader of the Praja Dalam. Although the group denies responsibility for the bombing, the police and government believe they are the perpetrators.

A corporate group intends to establish a mining company in a hilly region of Tamilnadu state, and the Praja Dalam has been opposing it and fighting for people's rights.

As the operation begins, a new recruit in the police force, Constable Kumaresh (Soori), is assigned to the Police Company that is searching for Perumal.

Kumaresh is a good-natured man who believes that police should work for the people and assists the villagers. When he helps an elderly woman get to the hospital, her granddaughter Paapa (Bhavani) develops feelings for him, and they gradually fall in love.

Kumaresh's good conscience leads him to question the police's inhumane practices. Paapa, along with other villagers, is also brought in for interrogation.

How far will Kumaresh go to save his girlfriend?

Artistes’ Performances: Soori, who is best known for his comedic roles in Tamil films, shines as an earnest constable in this film. He is absolutely brilliant and delivers a performance that is both innocent and heroic, making him the main highlight of the movie.

Vijay Sethupathi does not appear in much of the film, but his story may gain prominence in the sequel, and he still has his massy moments.

Balaji Shaktivel, who plays a brutal high-ranking police officer, gives a convincing performance, and Gautham Menon and Rajiv Menen are excellent choices for their roles.

Bhavani Sre, who plays Soori's love interest, also makes an impression.

Technical Excellence: The film is equally strong in terms of technical aspects. The camera work is superb, and the drone shots of the forest are particularly impressive. The train wreck single-shot sequence is masterful, and the action sequences in the climax are brilliantly shot. The work of the fight master in the final fight is outstanding.

The music of Maestro Ilayaraja is also good, with the first romantic song standing out in particular. The background music enhances the mood.

Highlights: Soori’s performance Interesting way of setting the story Last fight sequence

Drawback: Torture scenes hard to watch Inconsistency in the second half

Analysis Vetri Maaran's films have won numerous national awards due to his distinct style of highlighting the stories of marginalized communities, documenting police brutality, and exposing power abuse. His most recent film, "Asuran," was remade in Telugu as "Naarappa," so some Telugu audiences are familiar with his narrative style.

"Vidudala" is the first installment of the story, which takes place in 1987 in Tamil Nadu.

The first section of this story provides a proper character arc for the protagonist by telling the story from the perspective of a constable. The movie hooks us from the beginning with a train derailment, and Vetri Maaran makes his mark by using a documentary style to construct the drama.

Vetri Maaran focuses on the procedural aspects, so we see how the police send meals to various officers doing their duties in rough terrain and hills, even though the story seems somewhat like the regular clash of police versus Maoists or revolutionary groups.

A lot of the interrogation techniques and egos of high-ranking officers are on display as well. The film's first half is riveting, but the second half is not in the same league. There are too many disturbing scenes of torture, including police officers exposing and assaulting naked women. Furthermore, once the existence of such police torture is established, it should not have been repeated.

But that is Vetri Maaran’s style. He depicts police torture and abuse of power in a raw and realistic way, which is sometimes hard to watch on screen.

“Vidudala” ends with a glimpse of the second part, which reveals that we will be seeing more from Vijay Sethupathi.

On the whole, “Vidudala” is a typical Vetri Maaran film that has equal portions of gritty and gripping moments and some brutal scenes that are hard to watch. It is a film that appeals to those who like realistic dramas, but not for everyone.

Bottom line:  Gritty

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Tags: Vidudala Part 1 Vidudala Part 1 Review Vidudala Part 1 Movie Review Vidudala Part 1 Rating Vidudala Part 1 Movie Rating Vidudala Part 1 Telugu Movie Review

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Viduthalai Part 1 Movie Review : Vetri Maaran's Viduthalai Part 1 is a potent socio-political portrayal of a struggle for liberation

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'Viduthalai Part 1' review: Lots to like about Vetri Maaran’s dramatisation of police brutality

Deciding to be a good person is all fine and dandy, but how do you decide which side to stand for? Who’s the oppressor? Who’s the victim? Who’s right? Who’s wrong? These are questions we grapple with every day. And it’s this extraordinarily relatable question that haunts police driver Kumaresan (Soori, who is a wonderful fit) throughout Viduthalai Part 1. He doesn’t have the luxury of being a bystander, with his job forcing him to take a side. However, where another policeman would unthinkingly follow orders—prioritising self over others—this man is unique, for, somehow, some way, he’s managed to retain his manasaatchi (conscience).

Another policeman points this about him almost as a statement of doom. It’s due to being wired so that Kumaresan is unable to apologise as a compromise. On some level, it seems like he wishes he could, but he simply can’t. He’s not vain about his behaviour; he just doesn’t fit into the usual boxes of a policeman. In a film about the struggle between systemic authority and rebel forces, Kumaresan is arguably the biggest rebel of them all, a man who just cannot obey/submit. Perhaps it is this that truly defines a good man: The refusal to choose convenience over conscience. Viduthalai Part 1 is terrific when it digs into these subconscious, intimate spaces.

At a point in his delicate romance with a tribal woman, Thamizharasi (Bhavani Sre), Kumaresan stands confused at a point of ideological divergence. He finds that the anecdotes he’s hearing are at loggerheads with what he’s been fed by the system. I loved that Vetri Maaran, in a way, toys with us similarly. The first time we see Perumal (Vijay Sethupathi) in action, we register him as a brutal killer—not all too different from the policemen, in fact.

But then, we, like Kumaresan, have our eyes opened with more information—and suddenly, we see the truth. Isn’t it touching that Kumaresan’s eyes are opened by something as simple and beautiful as… love? Isn’t that, after all, the great equaliser? As Thamizharasi asks him, “Who’s real family? Those you are related to by blood? Or someone like you, who, at great personal suffering, still chooses to stand for us?” In a sense, she shows him the way. It’s perhaps why for an entire song, ‘Unnoda Nadandha…’, we see Kumaresan following her, as she leads the way through the darkness of the forest, shining a torchlight. The song itself feels longer than it needs to be, but I didn’t mind.

Soori is fantastic as the innocent, dogged Kumaresan. There’s just an innocence about comedy actors that comes through so effortlessly. In Viduthalai, this air of innocence Soori carries about him benefits the character greatly. When he’s resisting submitting to his horrible boss (Chethan), where another actor might come through as rigid in an egotistical way, Soori comes across as vulnerable—which makes his character profoundly likeable. This is Soori in a way we have hardly seen him, and much credit to Vetri Maaran for imagining this. There’s none of the slapstick, goofy humour we have come to associate with Soori in this film. It’s instead replaced by situational, organic humour—of course, in small places where it can exist. I laughed out loud when Kumaresan is asked to accompany a senior officer as he walks into the forest, and he says, “Enakku varla, neenga poitu vaanga.” Even his refusal to be forced into an apology is admirable and funny.

“Thappu dhaanunga ayya… aana epdi thappaagum?” These are such lovely portions in the film. But of course, there isn’t much place for humour in this film. We hear a voice in the beginning say that the events are all fictional, that any resemblance to real people/incidents is purely coincidental. But it all does ring real. A corporate-political nexus is eager to exploit land and resources, and as a side-quest, subjugate the residents living in harmony with said land. The question is, do the corporate organisations, political parties, and the police (who seem to act like security personnel for the rich and the powerful) really care about civilians and their rights? Do they care about anything beyond moneymaking?

Vetri Maaran, once again, shows great talent for capturing both the intimate and the expansive. That long, opening shot of the aftermath of a railway bridge explosion is a great example. The camera captures the frenzy, severed limbs, the dead, the crying, the pleas and sobs, the orders… before suddenly rising and moving into one of the train compartments to capture the misery inside. It glides out soon and presents us finally with an aerial shot of the carnage. Vetri Maaran does pretty much the same with the premise of this film. We get the inner workings of Kumaresan’s mind, but we are never too far away from understanding the larger developments and forces at play.

Vetri Maaran isn’t one to flinch from gore and violence. It’s essential to the realism of this film and serves the purpose of eliciting a reaction from us. Like in Visaaranai, the film is constantly asking us questions: Are you seeing this? Are you seeing what’s going on, under the guise of an interrogation? Are you seeing these power-hungry humans lose their humanity? Do you see why it bothers Kumaresan so much? At its essence, the story is drawn from a familiar template: A hunter joining the hunted. And yet, Vetri Maaran is careful not to make Kumaresan the champion of the downtrodden. He’s careful to allow Perumal and team to fight their battles. And in any case, this is just Part 1 of the film, and if I have a major grouse, it’s that we don’t get a sense of completion, despite having spent about 150 minutes on the film. Kumaresan is still foggy at the end, and his moral compass is a bit all over the place. And so, Part 1 ends with some footage from the second film, so we get a sense of what could potentially happen. Perhaps in that film, Kumaresan will finally, truly come of age?

It’s still a relief to know that filmmakers like Vetri Maaran truly care. I’m not talking about cinematic merits alone here; I see real value in their messaging. He cares for the trampled; he sees the value in mounting opposition against the big, bad system (like in Visaaranai). In this first film (even if it’s incomplete), whilst documenting the physical and psychological struggles of a driver named Kumaresan, whilst depicting the tragedies that befall a trampled community, whilst raising opposition to the methods of the police, director Vetri Maaran even manages to get us thinking of a question that’s fundamental to our being. Who’s a good man? If it is true that a good man is one of conscience, one who’s willing to reflect on his own actions and change in the face of compelling information, then it’s clear that Kumaresan is a good man. How far will it take him though? How long before the system fixes its crosshairs on him? Hopefully, Vetri Maaran won’t keep us waiting for too long.

Director: Vetri Maaran Cast: Soori, Bhavani Sre, Vijay Sethupathi, Rajiv Menon

Rating: 4.5 stars

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Vidudala Review ఉద్వేగంతో సాగే వెట్రిమారన్ మార్క్ కథ.. సూరి, విజయ్ సేతుపతి ఫెర్ఫార్మెన్స్ ఎలా ఉందంటే?

Rating: 3.0 /5 Star Cast: విజయ్ సేతుపతి, సూరి, భవానీ శ్రీ Director: వెట్రిమారన్

నటీనటులు: సూరి, విజయ్ సేతుపతి, భవానీ స్రే, గౌతమ్ వాసుదేవన్ మీనన్, రాజీవ్ మీనన్, చేతన్, ఇలవరసు, బాలాజీ శక్తివేల్ తదితరులు దర్శకత్వం: వెట్రిమారన్ స్క్రీన్ ప్లే: వెట్రిమారన్, బీ జెయమోహన్ నిర్మాత: ఎల్‌రెడ్ కుమార్ సినిమాటోగ్రఫి: ఆర్ వెల్‌రాజ్ మ్యూజిక్: ఇళయరాజా బ్యానర్: ఆర్ఎస్ ఇన్ఫోటైయిన్‌మెంట్, గ్రాస్ రూట్ ఫిల్మ్ కంపెనీ రిలీజ్ డేట్: 2023-04-15

విడుదల కథేమిటంటే?: కుమరేషన్ అనే గ్రామీణ ప్రాంత యువకుడు పోలీస్ డిపార్ట్‌మెంట్ క్యాంపులో డ్రైవర్‌గా చేరుతాడు. నిజాయితీ, ముక్కుసూటితనం వల్ల ఉన్నత అధికారుల ఆగ్రహానికి గురవుతాడు. క్షమాపణ చెబితే తిప్పలు పెట్టమని చెబితే.. తప్పు చేయనప్పుడు సారీ చెప్పనని మొండికేస్తాడు. అలాంటి పరిస్థితుల్లో తమిళసై (భవానీ శ్రీ) అనే గ్రామీణ యువతితో ప్రేమలో పడుతాడు.

ఆ సమయంలోనే పెరుమాల్ అలియాస్ వాతియార్ అనే తీవ్రవాద నాయకుడు (విజయ్ సేతుపతి) ఆచూకీ కోసం తమిళసైతోపాటు మరికొందరు మహిళలను నగ్నంగా నిలబెట్టి పోలీసులు హింసిస్తుంటారు. అలాంటి పరిస్థితుల్లో పెరుమాల్ ఆచూకీ తనకు తెలుసని, కొంత మంది సిబ్బందిని ఇస్తే తాను పట్టుకొంటానని ఉన్నతాధికారి మీనన్ (గౌతమ్ వాసుదేవ్ మీనన్)‌ను కోరడంతో అందుకు సదరు అధికారి సమ్మతించి కుమరేషన్‌కు అధికారాలిస్తాడు.

విడుదల కథలో ట్విస్టులు: కుమరేషన్‌కు పై అధికారులతో విభేదాలకు కారణం ఏమిటి? నిజాయితీ, నిబద్దతతో ఉద్యోగం చేసే కుమరేషన్‌కు ఎలాంటి ఇబ్బందులు ఎదురయ్యాయి? ప్రేయసితో కుమరేషన్ ప్రేమ ఎలా సాగింది? పెరుమాల్‌ను పట్టుకోవడానికి గ్రామస్థులను పోలీసులు హింసించారు?

పెరుమాల్‌ను పట్టుకోవడానికి కుమరేషన్ ఎలాంటి ప్రయత్నం చేశాడు? పెరుమాల్‌ను కుమరేషన్ ఎందుకు పట్టించాలని అనుకొన్నాడు? ఇంతకు పెరుమాల్‌ను కుమరేషన్ పట్టించాడా? అనే ప్రశ్నలకు సమాధానమే విడుదల సినిమా కథ.

ఫస్టాఫ్‌లో కీలక ఎలిమెంట్స్: ప్రభుత్వానికి సవాల్ విసురుతూ ఓ ప్రాంతంలో ట్రైన్‌ను పేల్చివేసిన సంఘటనతో విడుదల కథ ఆసక్తికరంగా మొదలవుతుంది. ట్రైన్ ఎపిసోడ్ చాలా సహజసిద్దంగా ఉన్నప్పటికీ.. కాస్త ఎక్కువగానే ఆ ఎపిసోడ్‌పై ఫోకస్ చేశారనిపిస్తుంది. కాకపోతే ఆ సంఘటన ఆధారంగానే కథ ముడిపడి ఉండటంతో ఆ సీన్‌ను ఎస్టాబ్లిష్ చేయడానికి కాస్త ఎక్కువ సమయమే తీసుకొన్నారా? అనే ఫీలింగ్ కలుగుతుంది.

ఆ తర్వాత ట్రైన్ పేల్చివేతకు తీవ్రవాదులే కారణమని భావించిన పోలీసులు ఆ ప్రాంతంలోని గ్రామాలపై పోలీసులు ఉక్కుపాదం మోపేందుకు స్పెషల్ టీమ్ రంగంలోకి దిగుతుంది. ఆ క్రమంలో కుమరేషన్ క్యారెక్టర్‌ను ఎస్టాబ్లిష్‌ను చేసేందుకు దర్శకుడు కాస్త ఎక్కువగానే తీసుకొన్నాడనే ఫీలింగ్ కలుగుతుంది. పోలీస్ డిపార్ట్‌మెంట్‌లో ఉండే ఇగోలను, కిందిస్థాయి ఉద్యోగులపై ఉన్నతాధికారుల వేధింపులను ఈ సినిమాలో చాలా ఎఫెక్టివ్‌గా చూపించడంలో దర్శకుడు సక్సెస్ అయ్యాడని చెప్పవచ్చు.

సెకండాఫ్ సాగిన తీరు: ఇక సెకండాఫ్‌లో పెరుమాల్ ఆచూకీ చెప్పడానికి కుమరేషన్ చేసిన ప్రయత్నాలతో కథ ముందుకు వెళ్తుంది. ఆ తర్వాత పెరుమాల్‌ను పట్టుకొనేందుకు గ్రామాల్లోని ప్రజలను హింసించడం, మహిళలను భారీ సంఖ్యలో అరెస్ట్ చేసే సన్నివేశాలు చాలా ఇంటెన్స్‌తో ఉంటాయి.

మహిళలపై పోలీసుల థర్డ్ డిగ్రీ చాలా నేచురల్‌గా చూపించడం దర్శకుడి గట్స్‌కు అద్దం పట్టాయి. పెరుమాల్‌ను పట్టుకొనేందుకు గ్రామంలో పోలీసులకు, తీవ్రవాదులకు జరిగిన ఎన్‌కౌంటర్‌ను సినిమాటిక్‌గా కాకుండా సహజసిద్దంగా చూపించేందుకు ప్రయత్నించడంతో సన్నివేశాలు ఆకట్టుకొంటాయి.

విడుదల మూవీలో నటీనటులు ఫెర్ఫార్మెన్స్: విడుదల సినిమా విషయానికి వస్తే.. పార్ట్ 1లో ప్రధానంగా కుమరేషన్ క్యారెక్టర్‌ను ఎస్టాబ్లిష్ చేయడానికే ఫోకస్ చేశారనిపిస్తుంది. అయితే ఇప్పటి వరకు కమెడియన్‌గా గుర్తింపు తెచ్చుకొన్న సూరిని ఒక సీరియస్ రోల్‌ను చేయించడం వెట్రిమారన్‌ చేసిన అతిపెద్ద ప్రయోగంగా చెప్పవచ్చు. అయితే వెట్రిమారన్ పెట్టుకొన్న నమ్మకానికి 200 శాతం అవుట్‌పుట్‌ను సూరి ఇవ్వడంలో సక్సెస్ అయ్యాడు. సూరి కాకుండా కుమరేషన్ కనిపించడంటే.. ఆ పాత్రను ఎంతగా ఎలివేట్ చేశాడో అనేది స్క్రీన్ మీద చూస్తే అర్ధమవుతుంది.

తమిళసైగా భవానీ శ్రీ నటించిన తీరు ప్రతీ సన్నివేశంలో ఆకట్టుకొంటుంది. ముతక పాత్రలో చాలా అద్బుతంగా అభినయించింది. గౌతమ్ మీనన్ సీరియస్ కాప్ రోల్‌లో మరోసారి ఆకట్టుకొన్నాడు. పార్ట్‌ 1లో విజయ్ సేతుపతి అతిథి పాత్రకే పరిమితమయ్యాడు. కనిపించినంత సేపు విజయ్ సేతుపతి తన మార్క్ చూపించాడు.

ఇళయ రాజా మ్యూజిక్ గురించి: సాంకేతిక నిపుణుల విషయానికి వస్తే.. ఇళయరాజా మ్యూజిక్ విడుదల సినిమాకు ప్రాణంగా నిలిచింది. అద్బుతమైన బ్యాక్ గ్రౌండ్ స్కోర్ సన్నివేశాలను ఎలివేట్ చేసింది. పాటలు పెద్దగా ఆకట్టుకోలేకపోయాయి. ఇక సినిమాటోగ్రఫి, ఇతర విభాగాలు పనితీరు చక్కగా ఉంది. ప్రొడక్షన్ వాల్యూస్ కథకు తగినట్టుగా ఉన్నాయి. కథపైనే ఫోకస్ పెట్టి.. కమర్షియల్ హంగుల జోలికి పోకపోవడం నిర్మాత అభిరుచికి అద్దం పట్టింది.

విడుదల సినిమా గురించి ఫైనల్‌గా: సినిమా తెర మీద తీవ్రవాదులకు, పోలీసులకు మధ్య జరిగిన కథలు ఎన్నో వచ్చాయి. ఒక్కో సినిమా ఒక్కో కోణంలో కథను చెప్పాయి. అయితే ఈ సినిమాలో పోలీసు డిపార్ట్‌మెంట్‌లో ఉండే వివక్షను చక్కగా చూపించాయి. ప్రతీ రంగంలోను కింది ఉద్యోగులపై పైఉద్యోగుల అధిపత్య ధోరణి, వివక్ష ఉండటం సహజం.. ఇందుకు పోలీస్ రంగం మినహాయింపు కాదని దర్శకుడు చెప్పిన తీరు బాగుంది. కథకు తగినట్టుగా పాత్రల డిజైన్ బాగుంది.

సినిమా చూసినంత సేపు ఓ భావోద్వేగం, కొత్త అనుభూతిని కలిగిస్తుంది. సినిమా కాస్త స్లోగా సాగినట్టు అనిపిస్తుంది. కానీ కథ డిమాండ్ చేయడం వల్లే అలాంటి స్క్రీన్ ప్లే అనుసరించారనే విషయం ఇక్కడ చెప్పుకోవాల్సిన పాయింట్. నక్సల్స్, పోలీసుల మధ్య ఎన్‌కౌంటర్లు, గ్రామీణ నేటివిటితో వచ్చే సినిమాలు ఇష్టపడే వారు ఈ సినిమా తప్పకుండా నచ్చే అంశాలు ఉన్నాయి.

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‘నువ్వు అలా కూడా పనికిరావు’.. అక్కినేని కోడలికి ఘోర అవమానం

Jigra First Review: జిగ్రా మూవీ ఫస్ట్ రివ్యూ.. ఆలియా భట్ హిట్టు కొట్టిందా?

Fans Express Disappointment over janhvi Kapoor role in devara

Sakshi Agarwal

Devara Part 1

Poonam Bajwa

Supritha Naidu

Sundeep Kishan

గోపీచంద్ తో రొమాంటిక్ సీన్

ఈ యాంగిల్ కూడా ఉందా..?

లోపల సచ్చిపోతున్నారు జనాలు

బక్కోడు అయిన చితక్కొట్టాడు BGM ని

ఎవ్వడికి లేదు

వేట్టయాన్ మూవీ రివ్యూ

Shruti Haasan

Tripti Dimri

Rashmika Mandanna

Surbhi Jyoti

Ruhani Sharma

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‘Vidudala Part 1’ is the dubbed version of Vetri Maaran’s original Tamil film, ‘Viduthalai Part 1’. Comedian Soori stars as the main character in this film, which opens with the aftermath of a train explosion. This is a continuous, uninterrupted shot (single shot sequence). The tone is immediately established by this prologue.

The story takes place in late 1980s Tamil Nadu and centers on a revolutionary group led by Perumal (Vijay Sethupathi) that is against a proposed mining company in a tribal area. The organization’s goal is to safeguard the natural resources and protect the tribal people’s rights. On the other hand, the police have announced a plan to capture Perumal and have begun deploying to the mountainous region.

Kumaresh (Soori), a police driver posted to this area, arrives on the scene. Despite his gentle demeanor, he is unwavering in his commitment to his guiding philosophy. His philosophy was that if one isn’t doing anything wrong, then there’s no reason to apologize to anyone. He helps local people. Kumeresh has developed feelings for Paapa, a local girl played by Bhavani Sre.

Police intent on apprehending Perumal begin torturing residents of the village. Paapa is among the villagers who are taken to interrogation. Kumaresh thinks that going after Perumal is the only way to save everyone.

We only get half of the story by the end of the film; the other half will be revealed in the sequel. But the first part has its own beginning and the end, a proper arc.

The narrative starts out as a police procedural but evolves into a document about the abuse of power. Still, Vetri Maaran makes an effort to provide a fair look at the situation from both the police/government and revolutionary groups’ perspectives.

Through the protagonist’s eyes, we also witness inhuman acts of police in the name of interrogation.

Despite the familiarity of the conflict, the compelling storytelling in Vetri Maaran makes it stand out. Some scenes, especially those involving police brutality, are difficult to watch. Their rawness makes them difficult to see at the screen. On the downside, the film drags on in the second half.

Soori, as the protagonist, delivers a stellar performance. He’s a natural at his job. Soori, who is known for his comedy, astounds us with his act.

Vijay Sethupathi, despite having limited screen time, makes his presence felt. Bhavani Sri is very good. Balaji Shaktivel stands out among the other actors.

Another plus is Ilaiyaraaja’s background score. The cinematography is strength to the film. The first and last scenes are both brilliantly executed.

Bottom-line: “Vidudala” is another powerful film from Vetri Maaran. The brutality depicted in some scenes is shocking and may be difficult to watch, but the film is a gritty drama on the whole. The second half loses the steam though.

Rating: 2.75/5

Film: Vidudala Part 1 (Dub) Cast: Soori, Bhavani Sre, Vijay Sethupathi, Balaji Shaktivel, Gautham Menon, and others Story: Jey Mohan Music: Ilayaraja Cinematography: R Velraj Producer: Elred Kumar Directed by: Vetrimaaran Release Date: April 15, 2023

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‘Viduthalai Part 1’ movie review: Soori shines in Vetri Maaran’s most politically-charged film yet

Soori, in the role of his lifetime, brims with energy and innocence as kumaresan, as director vetri maaran’s socio-political commentary gets more vigorous in his latest outing.

March 31, 2023 06:40 pm | Updated 07:15 pm IST

Soori in a still from ‘Viduthalai Part 1’ | Photo Credit: Special Arrangement

A look at director Vetri Maaran’s filmography shows us a common trope in all the films he has directed; they’re stories of ordinary men, underdogs who are trying to make a living for themselves, only to be unwittingly pulled into a world of chaos that they have to escape unscathed. While this might sound like an over-simplification, it doesn’t dismiss the fact that they’ve all worked, both critically and commercially; this winning streak seems to have continued with Viduthalai Part 1 . What’s also evident is how his socio-political commentary has gotten more vigorous with his latest outing, which is also his most politically-charged narrative yet.

The cops in Vetri Maaran’s films are usually filled with subservient people hardened by years of conditioning to follow orders or treacherous power-wielders who can misuse them for malicious purposes. While his Visaranai — a film that’s futile to not think about while watching or discussing Viduthalai — introduced us to a conscientious man in the form of Samuthirakani’s Muthuvel, here we get an entire spectrum of policemen; so much so that it would have been befitting to title this film 50 Shades of Khaki.

Viduthalai Part 1 (Tamil)

In the place of Muthuvel, we’ve got Kumaresan (Soori) a new joiner at a police camp set in a village surrounded by thick forests near the Tamil Nadu-Karnataka border. Kumaresan, as our POV character, learns the ways of the constables as well as about the Makkal Padai movement headed by Perumal aka Vaathiyaar (Vijay Sethupathi). Under the pretext of providing employment to thousands of oppressed people, a mining company — aided by the government in the name of the development of the state — plans on bringing down the ecosystem surrounding the hamlet. On one side, are the revolutionaries who claim they can speak all languages including violence; on the other side, we’ve got the system-led police force who term the separatist group a terrorist organisation. Stuck in the crossfire are the villagers who rely on the wealth of the forest for their livelihood and hence support Perumal who wants to save them and the land from the clutches of the corporate companies.

Despite talking about government affairs, the politics behind them and the social issues pertaining to them, Viduthalai doesn’t really get into the rights and wrongs. It instead concentrates on the conflict between the troops and the group, as well as the trials and tribulations of Kumaresan who has to make the difficult trade of his innocence and morals for recognition in his job and the love he has found in Tamizharasi (Bhavani Sre). While the former results in custodial torture and retaliation from the revolutionaries (which seems to have happened for years now) Kumaresan’s escapades are met with slap after slap of reality. Like a video game character thrown into a new world, he has to explore the unexplored and gain knowledge by understanding the locale’s history and its tryst with those in power.

At its core, Viduthalai Part 1 is Kumaresan coming to terms with the harsh realities of the world, the powers vested in those in charge, how they can be misused at their will and those at the receiving end retaliate to it. When he gets on the wrong side of the system, despite knowing a single apology can bring him back on track, he chooses to endure the punishment because what’s right and what’s decree isn’t always the same. This leads to another confrontation with a senior who, sensing Kumaresan’s resentment, asks if he would hit him, to which the once-meek constable answers affirmatively.

The film sports a brilliant list of talent both behind and in front of the camera. Soori, in the role of his lifetime, brims with energy and innocence as Kumaresan. As a good shooter who is forced to do basic chores, Kumaresan finally reaching out to a rifle at the climax with his trembling hand is symbolic of a man who is done being taken for a ride and is finally ready to take over the helms. The actor aces the intense scenarios his character goes through, as well as the breezy romance sequences.

Vetri Maaran’s latest film sports a brilliant list of talent both behind and in front of the camera

Bhavani Sre, who we earlier saw in Paava Kadhaigal in which Vetri had also directed a short, is neat as the strong-headed Tamizharasi. Chetan as Ragavendar and Gautham Menon as Sunil Menon play superior police officers and do an excellent job in one of the best roles of their careers. Vijay Sethupathi, in an extended cameo, excels as the man with a mission.

Vetri’s frequent collaborator, cinematographer Velraj, exceptionally portrays the treacherous terrains that are visibly difficult to even traverse through, let alone shoot a film in. A single-shot sequence involving a train crash is probably one of the best we’ve seen in Tamil cinema. However, Ilaiyaraaja’s two songs, despite being melodious, provide very little respite as they take away from the intensity the film builds up to.

Despite starting as a single project and now stretched into two parts (the sequel is scheduled to release soon), Viduthalai Part 1 does feel rushed with its narrative. So much is packed into it that we rarely get to linger and feel for the atrocities the villagers are subjected to. There are scene involving fingernails being pulled out, a woman and her father-in-law being tortured naked, and a whole bunch of women forced to strip. But apart from the brazen display of power, those scenes really don’t have the same impact Visaranai gave us within a very limited runtime.

Viduthalai Part 1 ends at a crucial juncture and the ending makes it evident that exponentially more incidents are bound to happen in the sequel; Vetri leaves us on the edge of our seats.

Viduthalai Part 1 is currently running in theatres

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Tamil cinema / Indian cinema

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