These interrelated events that occur under different circumstances have one thing in common. A similar situation unfolds with the three main characters, who find themselves in a difficult position and must decide: give in to power or take the bull by the horns. They decide for themselves and they pay the price too.
But the way editor N. B. Srikanth and director Thu Pa Sarawanan frame these scenes is perhaps the only time we see the director's blossom in a nearly three-hour film. The rest of the movie is mostly boring and dead.
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interval points we get the feeling of a "big" heroic moment.
But the results it produces are few and far between. Ideas without implementation are just ideas, and Veeramae Vaadai Soodum seems happy with some interesting ideas. Some of them aren't entirely good and give the feeling of textbook masala cinema déjà vu. But the problem goes deeper. The film feels like the culmination of the masala moments of the previous films, with no stalking to hold your attention throughout the three hours. And these "mass" moments are not new, they are not effective enough and not on a grand scale.
In the center is Porus, also known as Purushotaman (Vishal who doesn't seem interested in what happened). He dreams of becoming a police officer, but gets caught in a cycle of violence.
Think Mohanlal's
Kireedam minus the brilliant star cast and script. Porus, however, remains porous throughout. He has a sister whose name is unknown (Ravina Ravi). She could be Shanti, Malaya, Kavita or Jennifer or just a thangachi. But what you do know is that she won't last much longer than that gap.
The same goes for the female lead (Dimple Hayati). She walks back and forth to remind her that she handed out her call sheets. In her opening scene, she makes a big statement about sexual harassment, which is by far the funniest moment. You need to drill a hole through Veeramae.
. Find with such jewelry.
But these movies are never about women, are they? And even so, it is only to emphasize the hero's dignity. One way or another, Porus must find a target that leads him to become a villain.
Sister Pora is therefore a scapegoat.
If the main idea is revenge then Vishal himself stars in an excellent revenge drama called “Pandya Naadu” where he takes on those who killed his brother in a stunning performance by Bharatiraja. However, revenge is not Viramae's main concern. He wants the hero to have big goals. Think about it. Porus loses her sister to become someone else's Anna.
But the way editor N. B. Srikanth and director Thu Pa Sarawanan frame these scenes is perhaps the only time we see the director's blossom in a nearly three-hour film. The rest of the movie is mostly boring and dead.
Also get the weekly movie newsletter "First Day First Show" in your reading inbox.
You can subscribe here for free. In the impression of
interval points we get the feeling of a "big" heroic moment.
But the results it produces are few and far between. Ideas without implementation are just ideas, and Veeramae Vaadai Soodum seems happy with some interesting ideas. Some of them aren't entirely good and give the feeling of textbook masala cinema déjà vu. But the problem goes deeper. The film feels like the culmination of the masala moments of the previous films, with no stalking to hold your attention throughout the three hours. And these "mass" moments are not new, they are not effective enough and not on a grand scale.
In the center is Porus, also known as Purushotaman (Vishal who doesn't seem interested in what happened). He dreams of becoming a police officer, but gets caught in a cycle of violence.
Think Mohanlal's
Kireedam minus the brilliant star cast and script. Porus, however, remains porous throughout. He has a sister whose name is unknown (Ravina Ravi). She could be Shanti, Malaya, Kavita or Jennifer or just a thangachi. But what you do know is that she won't last much longer than that gap.
The same goes for the female lead (Dimple Hayati). She walks back and forth to remind her that she handed out her call sheets. In her opening scene, she makes a big statement about sexual harassment, which is by far the funniest moment. You need to drill a hole through Veeramae.
. Find with such jewelry.
But these movies are never about women, are they? And even so, it is only to emphasize the hero's dignity. One way or another, Porus must find a target that leads him to become a villain.
Sister Pora is therefore a scapegoat.
If the main idea is revenge then Vishal himself stars in an excellent revenge drama called “Pandya Naadu” where he takes on those who killed his brother in a stunning performance by Bharatiraja. However, revenge is not Viramae's main concern. He wants the hero to have big goals. Think about it. Porus loses her sister to become someone else's Anna.
There is a gorgeous crocodile feeder scene at the end. Again, an idea without action is just an idea. The inscription on the viramae is… It's terrible. The heroic moments needed more attention, and perhaps the film also needed a bigger budget. Talking to the actors doesn't help either. They set the tone for the TV series.
Berame.
.. One of those films with silly sexual jokes involving Porus and his girlfriend, whose name could be Malarvizhi, Janaki or Sentamizhselvi. It's the kind of movie where the doctor says, "It's not in our hands," to a character who asks if the other characters can make it to the end credits. It's a movie where the extras look much scarier than the villains.
It is a film that shows minimal sympathy for sexual harassment and molestation. Let's not even get started on the public figure and his fight for justice, which are written as justifications.
All of this makes me wonder if Thu Pa Sarawanan just finished the last cut, desperately tore it up, and decided to continue working on the film, gluing all the random pieces of paper together. The final product looks scattered. It seems scattered.
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