Vela movie review: Shane Nigam, Sunny Wayne deliver superb performances

Set in Palakkad, the film begins by depicting Ullas’ suspension for violating protocol while alerting a nearby patrol vehicle about a case involving drug usage by a minor. This also puts him at odds with the ruthless SI Mallikarjun (Sunny Wayne) as the latter is part of the nexus that supplies drugs to schoolchildren.

Meanwhile, the minor goes missing, and Mallikarjun manages to convince everyone that the kid eloped out of fear. However, Ullas is certain that Mallikarjun has something to do with the child’s disappearance. Although Ullas is not in a position to confront Mallikarjun, who holds significant power in the area, boasting high-level connections, a royal lineage, and a reputation as a ruthless cop willing to go to extreme lengths, including torturing judges to sway rulings in his favour, Ullas starts gathering evidence to expose him.

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Since Mallikarjun has numerous allies both within and outside the police force, he becomes aware of each of Ullas’ moves as he makes them, effortlessly thwarting them and also initiates personal attacks against Ullas. But things take a turn when an anonymous woman contacts the control room and reports to Ullas that she has murdered her husband. (Un)fortunately, once again, Mallikarjun is ‘conveniently’ stationed near the crime scene, and Ullas must guide him to the location. The remainder of the film focuses on how this call irrevocably alters their lives.

While Vela significantly diverges in tone and narrative from typical cop masalas, it doesn’t strictly adhere to the pace and style of procedurals either. Instead, it experiments with a fusion of both, occasionally transitioning between them, offering viewers a refreshing experience. Though certain consecutive moments may seem a bit disjointed, they never impact the film’s overall flow, and writer M Sajas ensures that the film’s unique pace is maintained throughout.

The film also delves into the caste dynamics within positions of power such as police force, illustrating how police roles were predominantly inherited by the upper caste from their forefathers. Now, as they are compelled to adhere to rules and treat people impartially as a ‘consequence’ of democracy, the frustration they experience is also shown in the movie, adding depth to Vela’s narrative.

However, the absence of compelling moments and a lack of grip in instances that require it result in Vela misfiring at several points. Even situations that appear to be building up to a powerful point fall short due to a deficiency in writing. Simultaneously, a couple of characters introduced at various points in the narrative, both physically and as voices (excluding those making phone calls to the control room), are not further mentioned after a certain point and the film begins to focus solely on Ullas and Mallikarjun. Despite the constant presence of the woman’s voice (Aditi Balan) making the call to report the murder, her character is almost overlooked until the last moment after her face is revealed.

Even the character played by Sidharth Bharathan, prominently featured in the first half, becomes nearly invisible in the latter portion. Considering the script doesn’t necessitate his presence towards the end, the excessive focus on him in the initial segments could have been reduced to prevent a feeling of “where did he go?”

Despite it being his directorial debut, Syam Sasi successfully crafts a captivating and distinctive world, rarely featured in mainstream films. The slow progression of the film that he ensures imparts a sense of intensity to viewers and works effectively. The control room scenes, conceived and shot in a commendable manner, also deserve applause. These scenes vividly portray the kind of work cops stationed in such places handle on a daily basis, addressing numerous calls involving hoaxes and information about genuine cases, from which the cops must filter out the authentic ones and pass on the information.

Juxtaposing the entire narrative against the Vela festival, involving a competition between two localities/groups, has added a more grounded touch to the film and worked gorgeously. It has also enhanced the aesthetics, as the festival involves colours and fireworks, mirroring the essence of Vela’s story.

The star attractions of the movie are undoubtedly Shane Nigam and Sunny Wayne, both delivering enviable performances. Shane once again showcases his versatility and the ability to tackle any role while ensuring absolute authenticity. What sets his performance in Vela apart is the absence of even a minor shade from his recent roles, especially his last release, RDX: Robert Dony Xavier. His mastery over dialogue delivery, a consistent strength, proves beneficial here as well. On the other hand, Sunny shocks everyone with a stellar performance, emanating a devil-like aura with Mallikarjun. From his body language to the treatment of the character’s subtleties, Sunny has done an excellent job, proving that he possesses the skills to excel when given substantial characters.

While Sidharth Bharathan also impresses with his performance, Aditi Balan and Namritha MV, who plays the role of Ullas’ girlfriend, fail to contribute significantly to the movie only because of the poorly-written nature of their respective characters.

Suresh Rajan’s cinematography aligns well with the film’s tone, demonstrating precision. However, Mahesh Bhuvanend’s editing lacks impact in certain portions, particularly during transitions between scenes. Sam CS’ music, as always, captivates viewers and is enhanced by Vicky and Kishan’s sound design. Dhanya Balakrishnan’s costumes and Amal Chandran’s makeup play pivotal roles in effectively conveying the characters and their nuances.

In short, Vela is one of those movies that offers a rare experience, thanks in large part to Shane Nigam and Sunny Wayne’s remarkable performances, but is hindered by a scarcity of engaging moments.

Vela cast: Shane Nigam, Sunny Wayne, Aditi Balan, Sidharth Bharathan
Vela director: Syam Sasi
Vela rating: 2.5 stars