Storyline: A new constable goes through a series of unfortunate events that leads him to hunt a separatist group’s leader.

     A look at director Vetri Maaran’s filmography shows us a common  commonplace in all the  flicks he has directed; they ’re stories of ordinary men, killers who are trying to make a living for themselves, only to be unwittingly pulled into a world of chaos that they've to escape unscathed. While this might sound like anover-simplification, it does n’t dismiss the fact that they ’ve all worked, both critically and commercially; this winning band seems to have continued with Viduthalai Part 1. What’s also apparent is how his socio- political commentary has gotten more vigorous with his  rearmost  spin, which is also his most politically- charged narrative yet.   The bobbies  in Vetri Maaran’s  flicks are  generally filled with subservient people hardened by times of  exertion to follow orders or  unfaithful power- wielders who can misuse them for  vicious purposes. While his Visaranai — a film that’s futile to not  suppose about while watching or agitating Viduthalai — introduced us to a conscientious man in the form of Samuthirakani’s Muthuvel, then we get an entire diapason of bobbies ; so much so that it would have been befitting to title this film 50 tones of Khaki.   Despite talking about government affairs, the politics behind them and the social issues pertaining to them, Viduthalai does n’t really get into the rights and wrongs. It  rather concentrates on the conflict between the  colors and the group, as well as the trials and  agonies of Kumaresan who has to make the  delicate trade of his innocence and morals for recognition in his job and the love he has  set up in Tamizharasi( Bhavani Sre). While the former results in custodial torture and  retribution from the revolutionaries( which seems to have  happed for times now) Kumaresan’s  capers are met with  poke after  poke of reality. Like a  videotape game character thrown into a new world, he has to explore the unexplored and gain knowledge by understanding the locale’s history and its appointment 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  entering end avenge to it. When he gets on the wrong side of the system, despite knowing a single  reason can bring him back on track, he chooses to endure the  discipline because what’s right and what’s decree is n’t always the same. This leads to another  battle with a  elderly who,  seeing Kumaresan’s resentment, asks if he'd hit him, to which the  formerly-demure bobby  answers affirmatively.   

          The film sports a brilliant list of  gift both behind and in front of the camera. Soori, in the  part of his continuance, brims with energy and innocence as Kumaresan. As a good shooter who's forced to do  introductory chores, Kumaresan eventually reaching out to a rifle at the climax with his pulsing hand is emblematic  of a man who's done being taken for a lift and is eventually ready to take over the helms. The actor aces the  violent  scripts his character goes through, as well as the breezy  love sequences.  Vetri Maaran’s  rearmost film sports a brilliant list of  gift both behind and in front of the camera   Bhavani Sre, who we  before 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 stylish  places of their careers. Vijay Sethupathi, in an extended gem, excels as the man with a  charge.   Vetri’s frequent collaborator, photographer Velraj, exceptionally portrays the  unfaithful terrains that are visibly  delicate to indeed  cut  through, let alone shoot a film in. A single- shot sequence involving a train crash is  presumably one of the stylish we ’ve seen in Tamil cinema. still, Ilaiyaraaja’s two songs, despite being melodious,  give  veritably little respite as they take down from the intensity the film builds up to.  Despite starting as a single  design and now stretched into two  corridor( the  effect is  listed to release soon), Viduthalai Part 1 does feel rushed with its narrative. So much is packed into it that we infrequently get to  loiter and feel for the atrocities the  townies are  subordinated 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  piecemeal from the  brazen-faced display of power, those scenes really do n’t have the same impact Visaranai gave us within a  veritably limited runtime.   

        Viduthalai Part 1 ends at a  pivotal juncture and the ending makes it apparent that exponentially  further incidents are bound to be in the  effect; Vetri leaves us on the edge of our seats.