Review | Viduthalai Part 2: When bullets silence voice of oppressed

The Tamil movie Viduthalai Part 2, directed by Vetrimaaran unveils the conundrum that links the unprivileged, the law and powers that be. Based on writer Jeyamohan's short story 'Thunaivan', the movie portrays the struggles, desperation, pain and injustice the oppressed section of society undergoes. Soori, Vijay Sethupathi, Gautham Vasudev Menon, Manju Warrier, Rajiv Menon, Ilavarasu and Kishore play prominent roles in the movie.

The storyline follows the dilemma of a simple, virtuous police constable, Kumaresan, from a rural hamlet who opposes the unjust actions and stance of the authority he serves.

When Perumal Vaathiyar, a hard-line leader of the marginalised section, is being chased, Kumaresan is compelled to perform his duty even though he sympathises with the former's ideology.The story keenly follows the atrocities meted out to the oppressed, their vehement fight and indomitable spirit to win their rights. It also shows how their desperate fight is subdued and guns silence their voices.

While Viduthalai Part 1 was the story of Kumaresan, played by Soori, Part 2 is invariably the story of Vaathiyaar, played by Vijay Sethupathy. Soori's expression of rustic innocence and vehement emotions are realistic.

While Vijay Sethupathi gets under the character's skin throughout, Manju Warrier as Mahalakshi oozes subtlety. There are moments she chokes you with deep feelings, but nothing much has been written for her in the script. Rajiv Menon, Gautham Vasudev Menon and Kishore enact their characters with brilliance and verve. Anurag Kashyap appears in a cameo but in a powerful role.

There is a symbolic representation of how people gel together for a common cause and how people obsessed with power dynamics engage in acts that leave them asunder. In this regard, the misadventures of a senior police officer in the final sequences are both a revelation and a dramatic plot device.

The technical brilliance, too, is noteworthy. The camera by R Velraj absorbs the warmth and hue of people's emotions and actions; Ilaiyaraaja's musical strain flows and ebbs like entrancing leitmotifs; the costumes, make-up, and even the meticulous edits keep the flow of the narrative forceful.

The dialogues, too, make the narrative powerful, and some one-liners are uttered like dictums, for example, the one regarding Mahalakshmi's short hair. The romance of Perumal and Mahalakshmi runs with a subdued pace but sweetly laces the narrative and adds charm to the engaging watch.

However, the monotony of the narration and the erratic dubbing and sound mixing mar the beauty of the film. It feels that the makers failed to apply dexterity in the sound department and let the dialogues, narration, and songs run like an incessant rain without a gap, making it difficult to follow the story at times.

This makes the first half tiresomely dragging. However, the movie rebounds with an intriguing plot twist in the second half. Whether it is the slow trek along the bushy tracts of the high range, reflections on Perumal's past or the stunning disclosures, the narrative flows with engaging ease.

The war in the Satyamangalm forest might rattle your senses. But the concluding sequences are stupendously engaging, and the climax with suspense precariously perched on a cliff top packs you off with many things to feel, think and recall.