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Vidhuthalai Part 1 review: Vetrimaaran’s film rages against abuse of institutional power
Viduthala review: Vetrimaaran is back with another film about police brutality that is heart-wrenching and might be a hard watch if you prefer your safety zone.

One of the absurdities of our modern life is that an average person walking on the road at midnight is more scared of police than a robber. A structure vested with power in order to protect the public is often used by powerful to guard their own institutions and hierarchy. Vetrimaaran’s Visaaranai (2016) is about the abuse of police power and exploitation of the voiceless. With Viduthalai, the director has expanded his canvas beyond police and is focussing his lens on the whole institutional power structure. Similar to Visaaranai, the violence on the screen can be overwhelming, and one wouldn’t be entirely wrong in calling the film torture porn. Then again, in an industry where violence has become synonymous with heroism, Vetri is one of the few filmmakers who depict violence as it should be. The bloodshed and gunshots here are not complemented by a raging techno background score and racy edits, but by wails and screams.
Viduthalai is set in the 80s in a fictional village on a forested hill. It begins with a gory train accident — the long sequence, which looks like a single shot, pans through the devastated accident scene where bodies and body parts are scattered. Women wail their hearts out and beat their chests. Hands, legs, and other parts are piled up on a rug sack. Men with mutilated legs and hands try to hold on to their lives. All this gore is to evoke a sense of anger towards the perpetrators, who bombed the bridge killing these innocent people. A poster on the bridge claims that it was done by Makkal Padai (People’s Army), a militant outfit that is headed by a faceless man named Perumal aka Vaathiyaar (teacher). Government is quick to organise special battalions and start an operation to nab the ‘terror outfit’, and Kumaresan (Soori) joins one of the camps as a jeep driver. Through the letters, he writes to his mother, the innocent and naïve constable narrates the horror that unravelled in the forest and his part in the game of power.
Soori makes us believe that Kumaresan is an actual person. Soori told the media ahead of the film’s release that Vetrimaaran chose him because he saw ‘innocence’ in his face, and that’s exactly why we start rooting for Kumaresan. Yet, he is not just this epitome of innocence. He is also adamant when it comes to what is right and wrong. He refuses to apologise to the camp’s head Ragavendar (Chethan) because the naïve constable believes he hasn’t done any wrong. Seeing this insubordination, a fellow cop tells Kumaresan, “You are not at all fit for police work.” Unconditional obedience is what makes this power structure work, not righteousness. That’s why Kumaresan, a believer in Saint Vallalar’s teachings, is unable to apologise. A costly mistake that keeps haunting him throughout his life. Ragavendar is upset that a ‘simple’ constable is not bowing down to him, and that’s the essence of the power abuse that the film addresses.
Every interrogation of a suspect, irrespective of gender, involves disrobing and physical assault. Ragavendar casually utters, “Treatment ah aarambinga (Start the treatment).” That just implies that they have a set of procedures to torture–as if they are from a textbook. It’s like Vetrimaaran telling us to define the word ‘organised crime’.
Apart from Soori’s casting, Vetrimaaran wins by choosing Gautam Menon as Sunil Menon and cinematographer Rajiv Menon as his senior officer. I won’t believe if someone says their real-life surnames have nothing to do with the role they are given to play in the film. And both the Menons keep referring to a ‘superboss’, who they are reporting to. The pyramid of power keeps going up and no one knows what the face at the top looks like. Everyone is a cog in the wheel of this giant institution that spins only to wield power. All these nuances make Viduthalai a layered film that achieves far more than Visaaranai.
The only bothering aspect of Viduthalai is its repetitive depiction of violence. Even before the triggering climax portion of the film, Vetri shows a lot of violence and we are soon numb. Maybe, that’s the point. Viduthalai is triggering because it is meant to.
Viduthalai cast: Soori, Gautham Menon, Chethan, Vijay Sethupathi
Viduthalai director: Vetrimaaran
Rating: 3.5/5


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