Soori excels in Vetri Maaran's most politically charged picture yet while Kumaresan, Soori brims with vitality and innocence, while director Vetri Maaran's socio-political criticism becomes more aggressive in his latest appearance.
A look at filmmaker Vetri Maaran's career reveals a common theme in all of his films: they're about average individuals, underdogs attempting to make a livelihood, only to be unwillingly drawn into a world of turmoil from which they must escape unscathed. While this may appear to be an oversimplification, it does not negate the fact that they have all been successful, both critically and economically; this winning streak appears to have maintained with Viduthalai Part 1. What's also clear is how his sociopolitical criticism has become more fervent with his most recent release, which also happens to be his most politically charged story yet.
 

In Vetri Maaran's films, cops are either obedient persons hardened by years of brainwashing to obey commands or deceitful power-wielders who may abuse their positions for evil intentions. While his Visaranai — a film that is impossible not to 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 the title 50 Shades of Khaki would have been appropriate.

At its heart, Viduthalai Part 1 is about Kumaresan coming to grips with the harsh facts of the world, the powers vested in those in authority, how they may be exploited at will, and how those on the receiving end respond. When he finds himself on the wrong side of the system, while knowing that a single apology may get him back on track, he decides to accept the punishment since what's right and what's required aren't necessarily the same. This results in another altercation with a senior officer, who, feeling Kumaresan's wrath, asks whether he would punch him, to which the once-meek policeman replies positively.

Despite being a single product that has since been split into two parts (the sequel is set to be released shortly), Viduthalai Part 1 has a hurried plot. There is so much crammed into it that we seldom get to linger and feel for the crimes committed by the locals. There are scenes when fingernails are torn out, a woman and her father-in-law are tormented nude, and a slew of ladies are made to undress. But, aside from the brazen display of power, such sequences don't have the same impact as Visaranai did in such a short amount of time.

Viduthalai Part 1 concludes at a critical crossroads, and the closing makes it clear that there will be exponentially more occurrences in the sequel; Vetri keeps us on the tip of our seats.