Viduthalai is a significant victory for conviction.

Vetri Maaran is able to reveal the hero that Soori has been harbouring all along.

Viduthalai appears to be an unusual story about the underdog.

Drama, feelings, and simmering tension are in abundance.

The hero is given unfair treatment, and we are waiting for him to burst because of it, but he is prepared to put up with everything in order to uphold his morals.

The unfair system treats him like a mere pawn in a one-upmanship game, which is not right.

Soori resembles us.

a hopeful person.

a man with hope in his heart.

But the system acts like a leech, sucking his blood out.

Viduthalai is a significant victory for conviction.

Vetri Maaran is able to reveal the hero that Soori has been harbouring all along.

Viduthalai appears to be an unusual story about the underdog.

Drama, feelings, and simmering tension are in abundance.

The hero is given unfair treatment, and we are waiting for him to burst because of it, but he is prepared to put up with everything in order to uphold his morals.

The unfair system treats him like a mere pawn in a one-upmanship game, which is not right.

Soori resembles us.

a hopeful person.

a man with hope in his heart.

But the system acts like a leech, sucking his blood out.

Instead of engaging in his typical shenanigans, Soori becomes into Vetri.
 

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) of engaging in his typical shenanigans, Soori becomes into Vetri.