Vikram Vedha

Directed by : Pushkar – Gayathri

Casting : Madhavan, Vijay Sethupathi, Kathir, VaralaxmiSarathkumar, Shraddha Srinath, Prem

Music :Sam C.S

Produced by : Sashikanth, Y Not Studios

PRO : Nikkil

Review :

Pushkar-Gayatri have no patience with filmy clichés, so when someone close to Vedha dies, we don’t see him weeping in frustration, seething with rage. He’s a Zen killer, more Zen than killer. 


After narrating his first story, he tells Vikram, “Idhu Vedha-va pathi illa, dharmathai pathi.” (This is not about Vedha. This is about dharma.) If he got himself a shave and ditched the gun, you’d find him under a Bodhi tree.


And Vikram transforms into a rapt disciple, holding on to his every word. The writer-directors themselves must have been unconvinced about this, for more than once, a character asks Vikram about his fascination with Vedha.


King Vikram was forced to hear Vetaal out because if he didn’t, his head would shatter into a thousand pieces. This Vikram’s reason simply seems to be “the screenplay told me so.”


It’s a testament to the leading men that we don’t burst out laughing by the time the Vikram-Vedha relationship morphs into something out of a Hollywood buddy-cop movie. 


Madhavan’s is a part he can play in his sleep, but the actor is wide awake – he makes Vikram a cocky cowboy cop whose eyes are slowly clouded by doubt. And Vijay Sethupathi is fantastic, tossing away crowd-pleasing lines in the most casual fashion.


Part of the fun of the film is watching these actors play off each other – in terms of acting styles, in terms of the “class” versus “mass” image, everything.


The actual throwaway lines are a lot of fun. Pushkar-Gayatri’s first two films were comedies of some sort, and that playfulness seeps into the snappy dialogue here. 


Before an encounter, Vikram tells his men, “Boys, odambula ottai vizhaama paathukkunga.” 


And thanks to cinematographer PS Vinod, there isn’t one uninteresting frame. As in noir, we get a lot of light and shadow play. 


When two men talk in the first floor of a building, the camera is just below, at an angle, so the windows above them seem to be fanning out under the sky. 


Another conversation is staged through the bars of a window, with the wall blacking out an entire half of the frame.


Verdict : A power packed elegant gang war story beautifully shooten with all technical aspects in a good frame,Worthy to watch in theaters...

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