Tamil chief Vetri Maraan's tremendous new film Vidhuthalai Section 1 (Freedom), set in 1987 however deflecting through the present and, surprisingly, what's in store, gives a base up perspective on power through the encounters of a low-positioning police driver.
Kumaresh (Soori) is the most recent addition to a police unit that has been established to capture Perumal (Vijay Sethupathi), the enigmatic leader of the rebels. The police unit initially elicits sympathy because it has been stranded at the forest's edge for months, is ill-equipped, relies on basic food (chouchou, a gourd, is a staple), and is constantly at risk of being attacked by Perumal's followers.
The bravura single-take opening sequence of the 150-minute film features a train that has been blown off its tracks. Soori begins his employment as a driver, cook, and general dogsbody on this very day, cautiously maneuvering among the bodies with concern and conscientiousness written all over his face.
The rebels are speaking out against a mining project that is being considered for the area. Perumal, who flits in and out of view but whose reputation and essence loom large over events, has never been photographed by the police.
In Vidhuthalai Part 1, which is based on a story by Jeyamohan and will have a second part out in a few months, there is another person working in the shadows. Despite instances of custodial torture, homicides committed by trigger-happy police officers, and the disappearance of suspects, the state, represented by the cunning Chief Secretary Subramaniyan (Rajiv Menon), continues to pursue its objectives. Sunil Menon (Gautham Menon), a high-ranking officer, is sent to ensure that "Operation Ghosthunt" is carried out successfully.
Vetri Maaran, who has composed the film with Jeyamohan, keeps a thickly plotted story moving along while never overlooking the political conditions behind Perumal's hostility. The director of Visaranai, Vada Chennai, and Asuran is no stranger to using popular storytelling techniques to address debates about caste, deeply ingrained injustice, and injustice.
Kumaresh's charming relationship with village resident Tamizharasi (Bhavani Sre) takes place amid soulful music by Ilaiyaraaja, chases reminiscent of Battle of Algiers, and disturbing instances of police excess that surpass Visaranai's shock value. Some of these scenes, particularly those that depict the women's trauma, are excessively graphic.
The actions that are carried out in this remote outpost are depicted with a boldness and sanity that are absent from popular depictions of militant movements. It is done so with the permission of the state and away from the eyes of the media. With the exception of a couple of seconds of group satisfying bravery, the film has a faithful ripped-off-the-titles quality that is passed on through narrative style authenticity and cinematographer R Velraj's unshowy visuals.
By observing Perumal's war against the government through Kumaresh's troubled eyes, Vetri Maaran skillfully flips the idea that there are two sides to every story. Soori beautifully portrays this wonderful creation, who struggles to earn his place in the police department while also answering to his conscience. Chetan is in the cast as Kumaresh's vile boss, who is a product of a system that has dehumanized its constituents and is an all-too-perfect example.
