Vikram Vedha (2017)

Vikram Vedha: Directed by Gayatri, Pushkar. With Madhavan, Vijay Sethupathi, Shraddha Srinath, Kathir. Vikram, a no-nonsense police officer, accompanied by Simon, his partner, is on the hunt to capture Vedha, a smuggler and a murderer. Vedha tries to change Vikram’s life, which leads to a conflict.

“There is a theological belief that says Jesus was not of flesh. Gnosticism tries to substantiate that belief and says; since Jesus was not of flesh, he didnu0026#39;t die in the cross. It was indeed Simon of the cyrene who got crucified for Jesus. I am not an advocate of any of these beliefs but what is enthralling is all these stories gives you questions which shakes you. If you are questioned u0026quot;If Gandhiu0026#39;s father was Gandhi? Or Is Godseu0026#39;s son a Godse?u0026quot;, then you are in the never ending tale of Good vs Bad or God vs Devil. This goes on from Generation to generation. From childhood, we might have heard a lot of stories on moral values and principles. One of the intriguing things in listening all those stories is; how to attain the wisdom to decide between good vs bad. Some of the stories end with a verdict so you need not really bother about the process of deciding the evil. The ambulimama stories of Vikramadhithan-Vedaal never end with a verdict. They always question you. So, the process of judging\comprehending\concluding is left to you. Vikram-vedha gives you the same experience in big screen; of questioning yourself with few tales and lot of questions. Most importantly, you enjoy it a lot like all the granny stories. The canvas is big and you could see lot of colors. The story tellers or the grannies are enamoring and very wise to make you think. Vikram-vedha has the x-factor in it because the art of story-telling is at its finesse. Surprisingly, it is both deductive and detective. If it is an investigative story where you are searching something , it is not the object that gets found or the result you achieve it is all about the ride. It is the hermeneutics that gives you the satisfaction. There are stories that cancel themselves. A good example would be Yuvanu0026#39;s u0026quot;Naankavuthu Kanavuu0026quot; (Fourth dream) in Tamil. One common thing about such stories is that they switch back and forth between time. They create a world in your mind and bring you back to your senses. They question you how that world was. Then they will tell you another tale and then ask questions. Sometimes it will be tales within tales. The idea is just to engross you and present you the alternate realism. Then they will connect the dots within all these tales slowly revealing the canvass. The devil will be in the details. Exactly, what Vikram-Vedha does to you.u003cbr/u003eu003cbr/u003eMadhavan plays the role of Vikram. The straight as an arrow, who considers himself having the wisdom of seeing right and wrong. Its zero or one for him and so he is in peace. Enters, Vijay Sethupathi, Vedha@Vedaal, who questions Vikramu0026#39;s wisdom. Vikram slowly realizes that its not always black or white and truth gets hidden somewhere in between. Vijay Sethupathi scores easily. Madhavan is good but somehow reminds me of a grown-up Anbarasu of Anbe Sivam times. He is spontaneous, charming, good and straight. In many aspects, we as audience are in the world of Vikram. We associate ourselves to his character. Vedha gets him into a ride. Vedha knows the truth. He asks you tough questions. Slowly, you acknowledge that Vedha has a superior intellect. You stick out to him. You listen to him. He mocks you, burdens you sitting at your back. He bedevils you with ease and poise. Vijay Sethupathy scores easily because of his usual cool, calm way of living the character. Vijay Sethupathy easily strikes a chord because he had arrived and mastered the art of matching the traits of a character with dialogue delivery, looks and walk. Simple copybook approach. In the world of tamil cinema, where the likes of Kamalahasan doing a lot at the age of 60+ to live a character, Vijay Sethpuathy does it with real ease. May be the ease is what stands apart!u003cbr/u003eu003cbr/u003eMetaphors and images from folklore and mythologies are spread over the film including the title. There is this character called Simon, who just lives as gnosticsu0026#39; belief. He has a son named Alex. He was made to carry the cross. He is confused, he canu0026#39;t bear it and he canu0026#39;t refuse it. He just falls back to the lord. A bullet abandoned by Vikramu0026#39;s father, gets the much need chain sprocket from Vedha just like the clues. Vedha has a brother whom Vedha protects a lot and thus loses him. He is the crux of the story and nicknamed as pulli. A money minded kid Chandra grows up exactly as she was earlier. Vikramu0026#39;s wife is another tool in the tale. She plays an advocate. Advocate and cop inside same house creates lot of dilemmas in the personal and professional front.u003cbr/u003eu003cbr/u003eDialogues are crisp and sharp. There are notoriously comical dialogues in Orampo. Pushkar and Gayathri the director couple are really good at dialogues. My urge to watch the film is mainly due to the dialogues of Orampo. A cop with pride says that his to be brother-in-law is an engineer. Vikram responds u0026quot;What is the pride being an engineer?u0026quot;. His wife confronts him that u0026quot;in lawyeru0026#39;s world cops are wrong!u0026quot;. Vedha says we have to cease the opportunity. For him, a cop gets a name by being a cop, but he has to do something to be a hero. He says its nauseating to have blood stains and so buys pistols. His policy is not to worry about losing an egg but to make an omelet out of it. The punch soundtrack is too good. Music at times is very loud. Screenplay stands apart and the neatly woven details gives you the embroidered image in the climax. Vikram-vedha a must watch!”