Vettaiyan (2024)

When Eastwood’s Dirty Harry came out in 1971, the critics were appalled by the fascist approach celebrated in the film. Is he a hero a cop or freewheeling vigilante dishing out justice in his own terms? The film was a huge hit, but the debate remained in the politics of the film. Why the violence by cop is celebrated? Ain’t that hypocritical when cops should be defenders of peace in the first place, not the other side of the violent criminal coin?

The producers followed up with a sequel, Magnum Force, where this time Harry himself faces off with the a bunch of rookie cops who does the very thing, idolising Harry, and performing vigilantism as they find fit.

And when they explained that to him, Harry says, “I’m afraid you misjudged me”.

That is basically what Vettaiyan set out to do, to penetrate both side of the debate. The title character, played by Rajini, is an “encounter” specialist, a cop freely killing thugs as he finds fit. These encounter specialists are basically ones with unofficial “licence to kill”.

Yet the film does not seek to glorify it as the climax proves. Vettaiyan’s approach and the wrong consequence forms the first half of the film.

Unlike Eastwood’s Harry who continued with his way in the next three sequels, Rajini’s character is struck by his conscience when that one “encounter” was realised to be a mistake.

He then vowed to the family of the guy he killed to find the actual culprit and works his way to a somewhat satisfying ending. That is the second half.

First and foremost, director Gnanavel did a splendid job of balancing this “message” platform with Rajini’s stardom, and laudable especially by not going overboard on the latter.

Speaking of the balancing act, he deals with the “encounter’ culture and the money minting education coaching business (here we say tuition, I suppose), which burdens poor families where some students even resorted to suicides.

Tough subjects but Gnanavel tackled them with equal fervour ensuring that there’s both justification and error on the police violence part and pointing out the capitalism poison that pervades the education business.

My joy was the performances. Everyone was on track. The gals, especially Rithika Singh whom I adored in Iruthi Sutru, a real life Mix Martial Arts queen, who gets her share of ass kicking and the supporting roles by Rohini, Abhirami.... and Manju Warier who plays Rajini’s wife and whom you ain’t gonna mess with. And of course, Sudha Vijayan who's character the entire film is centred on. It wonderful to see strong performances from the gals in an industry that usually treats actress like a showcase item. 

Then there was Amitabh Bachcan whose role could have been done by any other character actors but he was the moral gravity of the film and let’s not forget, he is our Superstar’s superstar. After Nadigar Thilagam Sivaji Ganesan nobody can make Rajini’s character shrink in admiration, respect and devoted like he does here, and both of their scenes together lend to the seriousness the conflict discussed in the film.

Then, there’s Fahad Fasil…what a scene stealer…and he is indeed a thief in this movie. A hacker. And made into an ethical hacker by being Robin to Rajini’s Batman. Their relationship forms the best part of the film, if I may add which will tear our heart out when the inevitable happens towards the end.

I want to come back to the use of Eastwood comparison. Now, his earlier films celebrated vigilantism through the coo movies and random violence in the westerns. He atones for it in the excellent Oscar awards winning Unforgiven (1992).  He kept at it in film like Gran Torino (2008).

I find that similar attempt in this flick. Rajini started out as a hero doing vengeance flick from the late 70s right through the 80s.

Here his character has to grapple with conscience on that approach. And I loved it that the Rajini I admire, Rajini the actor is made full use when his character is beset by emotion, reacting terribly to the earlier vigilante attitude and repenting by setting the wrongs right. Fantastic performance there, the subtlety in his approach always confirms me this: when he is not doing stylish shit, the self glorifying characters, the man can pull off brilliantly in playing conflicted characters.

That what makes this film work and kudos to Gnanavel for bringing that outta Rajini.

I love this film. I really do.