Casting : Vijay sethupathi, Soori, Manju Warrier, Kishore, Anurag Kashyap, Ken Karunas, Rajeev Menon, Gautham Vasudev Menon, Bose Venkat, Bhavani Sre, Vincent Ashokan, Chetan
Directed By : Vetrimaaran
Music By : Ilaiyaraaja
Produced By : RS Infotainment – Elred Kumar
The first part of ‘Viduthualaya’ would have ended with the arrest of the leader of the Tamil People’s Army, Perumal Vathiyar, at gunpoint by the constable Kumaresan. In this sequel, the second part, how did Perumal, a schoolboy, become the leader of the Tamil People’s Army? Why does his movement take up arms and fight? ‘Viduthualaya – Part 2’ is a political story that is discussed against the backdrop of the social injustices that have happened in society and are still happening.
In the first part, director Vetrimaaran, who not only presented the lives of the hill people through the police search and rescue, but also presented police politics in a grand manner, in the second part, he talks about the atrocities experienced by the people as farm slaves, the exploitation of the capitalists, the oppression of the bureaucracy, and the rise of communism and the Dravidian parties that spoke out against them, drawing a huge political lesson for the current generation.
In the role of Perumal, Vijay Sethupathi, who has attracted attention with many faces, starting from an innocent schoolboy who believes in the law, to a communist activist, a trade unionist, a fighter who fights with weapons, and a leader of the Tamil People’s Army, has impressed with his natural acting as a lover and husband.
Manju Warrier, who debuted as a communist activist and later became Vijay Sethupathi’s girlfriend, has captivated the audience with her fighting spirit and romantic mind. Despite being a rich woman, she speaks out for the workers, and the reason for her haircut is a tonic that gives great strength to women who think they are weak. In the first part, Kumaresan Soori, who risked his life to catch Perumal Vathiyar, scores in the second part with scenes where he regrets his actions by not using the gun he longed for even though he gets it.
Kishore, who plays the communist leader and Vijay Sethupathi’s political guru, has added great strength to the film through his experienced studies. Director Anurag Kashyap, who appears in some scenes as a Bengali militant, Rajiv Menon, who plays the Chief Secretary, Gautham Vasudev Menon, who plays the police officer, Chethan, Bose Venkat, and Vincent Ashokan, are all suitable choices for the roles.
The character of Karuppan, who puts an end to the perverted intellect of the farmers who claim ownership of working-class women, and the performance expressed by Ken Karunas in it are very special.
Although the songs in Ilayaraja’s music are captivating, they are a bit of a hindrance to the flow of the screenplay. However, his background music has given life to the scenes. Raja, who gently caresses us in the love scenes, lets us splash with passion in the battlefield and fight scenes.
Cinematographer R. Velraj’s camera travels to places where people cannot travel and displays the danger of the dense forest in a surprising way. From Ken Karunas’ fight scenes to the advice of the officers, he has done great magic with his camera, and in the final clash between the militants and the police, he has depicted the snow-capped mountain menacingly.
Editor Ramar, who has neatly compiled all the political incidents that director Vetrimaaran has tried to record, could have reduced the length of some scenes in the first part.
The work of all the technical artists, including art director Jackie, stunt designers Peter Hein, stuntmen Siva and Prabhu, and costume designer Uttara Menon, has contributed greatly to the film. The current generation, who are studying imperialism, class, capitalism, dictatorship, oppression, dictatorship, democracy, and socialism, should be made to understand what is behind it. Although the political incidents that director Vetrimaaran has talked about and depicted took place many years ago, it cannot be denied that they are still happening in different forms. He has emphasized that it is necessary to fight against such injustices and has emphatically recorded that the victory obtained through armed struggle is not permanent.
Director Vetrimaaran, who has taken a swipe at leaders with fans who easily enter politics and hope to ascend to the throne soon, makes the audience think throughout the film with his profound dialogues.
[10:53 am, 23/12/2024] manojinbox2: Director Vetrimaran, who has recalled how many people risked their lives to get the rights that workers enjoy today, such as wages, weekly holidays, and festival bonuses, has also shaken the government machinery that harms the public in the name of development.
The director, who has beautifully recorded the real life of the armed fighters who also live as ordinary people with families and children, has depicted the battlefield in blood in the first half, which is a bit awkward. Similarly, in some scenes, when Kumaresan is reading a letter, Perumal Vathiyar is speaking, so the dialogues are incomprehensible. Although these seem to be the shortcomings of the film, in the second half, director Vetrimaran, who has spoken so forcefully that the audience forgets these shortcomings, has tried to immerse the youth immersed in digital technology in politics.
