Vetri Maaran is the director of Viduthalai, part one of the review.

Jayamohan and Vetri Maaran are the authors of the book "Thunaivan."

Cast: Gautham Vasudev Menon, Prakash Raj, Vijay Sethupathi, and Soori

It is necessary to view Vetri Maaran's Viduthalai several times in order to fully appreciate its sprawling single-shot opening sequence. As a result of being forced uncomfortably close to a train wreck, the destruction is not just in front of us but also all around us. Camera movement is confusing from the ground up to a bridge and into the few surviving compartments of the bombed train as bodies pile up and severed limbs startle us to attention. This is because there is no clear geographic trail for the camera to follow. The camera must zoom back for a full ten minutes before it can view another terrorist assault from a safe distance and gauge its magnitude.                                                                                                                                      

  The innocence of Kumaresan lends Viduthalai a force that makes its surroundings much more unsettling and real. He comes into this world as an outsider, wearing rose-colored spectacles from having grown up hearing about the virtues of the police force, but as he is able to observe reality from a distance, he undergoes a baptism by fire. Not only do drone shots show us how insignificant these individuals seem in the endless forests, but Kumaresan also finds himself being requested to man the watch tower, continuing the theme of vantage points. At first, he thinks that being assigned to clean the restrooms is just another penalty. But one doesn't fully grasp how until the concluding shootout.                       Because of this characteristic of Kumaresan, we can compare him to Perumal (Vijay Sethupathi), the head of the Makkal Padai, who is a direct adversary of the State. If things had turned out differently, Kumaresan probably would have followed Perumal or become a leader himself. Even though Perumal and Murugesan were bound to be enemies, this adds a layer of respect to their otherwise invisible relationship.Because their tale is divided into two parts, the first movie can effectively depict Kumaresan's loss of innocence as he transitions from an obedient government employee to someone who is being forced to question the system he was devoted to. The also provides.        It is possible for the first movie to effectively depict Kumaresan's loss of innocence as he transitions from an obedient government employee to someone who must begin to doubt the system he was devoted to thanks to the story's division into two sections. Additionally, it lends the movie a certain amount of tenderness because we are more affected by the stories of specific people than we are by a larger struggle like the State versus a rebel group or revolutionaries. In reality, the romance between Kumaresan and Tamilarasi (Bhavani Sree) serves as a link between the two worlds and demonstrates to us how love is still the most effective form of diplomacy.

Despite being a complete film in this way, you can also tell that it lacks the kind of impact we've been trained to expect in films.                                                                         Even after we move past interpersonal relationships, the graphic nature of violence fails to evoke the same savage pity for the characters that Vetri was able to do in Visaranai. On paper, the events in Viduthalai are much more gruesome, including a section where fingernails are repeatedly clipped and a lengthy episode where a dozen women are stripped naked in an attempt to catch Perumal. But one questions if Vetri's decision to cut this with a massive action set-piece makes the blow less severe. The police are largely portrayed as the bad guys, so we're supposed to accept this injustice at face value while waiting for the second movie to reveal the real details.