🎬 Odela 2 Movie Review: When Darkness Returns to the Village

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Kesari Veer: A Roar of Courage and Patriotism

In the grand tradition of Indian cinema’s celebration of heroism and honor, "Kesari Veer" emerges as a stirring tribute to sacrifice, resilience, and unshakable patriotism. Blending high-octane action with emotional depth, the film stands tall as a cinematic salute to the warriors who fought not for glory, but for their people and principles.

Plot: A Flame in Saffron

Set against the backdrop of pre-independence India (or a turbulent historical setting), Kesari Veer follows the journey of a brave soldier who dons the saffron — not just in turban, but in spirit. The protagonist, known as Veer, rises from humble beginnings to become a symbol of defiance against tyranny. Whether facing colonial oppression, enemy forces, or betrayal from within, Veer stands unflinching, embodying the ideals of dharm, desh bhakti, and sacrifice.

Through his journey, we witness not just battles fought on the battlefield, but inner wars waged between duty and personal loss. Each scene is a clash of ideals, making the story more than just action — it becomes a battle cry for justice and honor.

Action & Direction: Intensity with Integrity

The film’s action choreography is a highlight — gritty, grounded, and emotionally resonant. The fight scenes are not just spectacles; they are layered with meaning. A single punch carries the weight of history, and every drop of blood spilled echoes with the cries of those who never bowed to injustice.

Director [Insert Director's Name] crafts the narrative with precision, balancing high-stakes drama with moments of intimate humanity. The pacing is tight, the visuals rich with saffron-tinted symbolism, and the transitions smooth — from emotional crescendos to explosive action.

Performances: A Warrior’s Heart

[Insert Lead Actor’s Name] delivers a powerhouse performance as Veer. His eyes burn with resolve, his voice resonates with conviction, and his physicality embodies strength forged through struggle. The supporting cast complements the central performance with grounded, nuanced portrayals — from loyal comrades to cunning villains.

Special mention must be made of [Insert Actress's Name], whose portrayal of Veer’s moral compass and emotional anchor brings tenderness and depth to the war-torn narrative.

Themes: Saffron as Spirit

The title "Kesari Veer" isn’t just symbolic — it’s the soul of the film. Saffron, traditionally representing courage and sacrifice in Indian culture, is painted across every frame — not just in color but in sentiment.

Themes of nationalism, unity across diversity, and the cost of freedom run deep. The movie doesn't shy away from showing the price of valor, but it never lets hope die. It's a reminder that true warriors fight not for themselves, but for the generations that follow.

Music & Cinematography: Epic and Evocative

The soundtrack — a blend of patriotic anthems and emotional ballads — enhances the film’s emotional reach. Every beat swells with purpose, reinforcing the narrative’s emotional and nationalistic undertones.

Cinematographer [Insert Name] captures sweeping landscapes, battlefield chaos, and intimate moments with equal finesse. The saffron hues, shadowed ruins, and sun-drenched mountains create a visual tone that stays with you long after the credits roll.

Verdict: A Must-Watch for Every Indian Heart

"Kesari Veer" is more than a film. It's a feeling — of pride, of pain, of power. It speaks to the soul of a nation and the fire within its people. In an era where real heroism often gets buried under noise, this film reminds us that bravery is quiet, sacrifice is loud, and history remembers those who dare to stand, even when the world demands they kneel.

Have you watched "Kesari Veer"? Share your thoughts or favorite scenes in the comments — and let the spirit of saffron continue to inspire!

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The Raid 2: A Brutal Ballet of Chaos and Cinema

When Gareth Evans released “The Raid: Redemption” in 2011, it redefined the action genre with its relentless pace, claustrophobic setting, and bone-crunching martial arts. But in 2014, Evans returned with a sequel that didn’t just raise the bar — it shattered it. “The Raid 2” isn’t just a continuation; it’s an evolution, transforming a gritty action film into a sprawling crime epic with operatic ambitions.

Plot: From Hallways to Highways

Set mere hours after the events of the first film, “The Raid 2” follows Rama (Iko Uwais), the quietly lethal cop, as he goes undercover to dismantle a sprawling Jakarta crime syndicate. Gone are the confines of a single building — now the battlefield spans prisons, nightclubs, muddy fields, and bustling city streets. The stakes are higher, the enemies deadlier, and the consequences more brutal.

Rama’s mission plunges him into a violent underworld where loyalty is bought and sold, and betrayal is inevitable. The story is layered with political intrigue, familial drama, and a sense of operatic tragedy that recalls crime classics like The Godfather and Infernal Affairs.

Action: Art in Motion

Where “The Raid” was tight and furious, “The Raid 2” is sprawling and precise. Evans choreographs violence like a conductor leading an orchestra — with rhythm, escalation, and climactic crescendo. Each fight scene is a masterclass in cinematic action:

• The prison yard brawl in the mud is pure chaos, shot with handheld intimacy that puts you inches from every punch.

• The kitchen fight, a duel between Rama and the assassin (played by Cecep Arif Rahman), is arguably one of the best fight scenes ever filmed — fast, brutal, and emotionally charged.

• Then there’s Hammer Girl and Baseball Bat Man, two assassins with gimmicks so stylized yet effective that they became instant cult icons.

Themes and Tone: Crime and Consequence

Unlike the first film’s straightforward premise, “The Raid 2” delves deep into themes of corruption, identity, and sacrifice. Rama is no longer just a cop fighting for survival — he’s a man walking the thin line between justice and vengeance. The film asks a simple but powerful question: How far will you go to do what’s right?

It’s a film that doesn’t shy away from consequences. Every punch thrown, every bullet fired, comes with a cost. Characters live and die by their decisions, and there’s a pervasive sense of tragedy that makes the violence feel weighty, not gratuitous.

Cinematography and Score

Matt Flannery’s cinematography is sleek and kinetic, capturing both the beauty and brutality of each scene. The camera glides, spins, and crashes through the action, immersing viewers without disorientation.

The soundtrack by Joseph Trapanese and Aria Prayogi underscores the tension, blending electronic pulses with traditional instruments to give the film a uniquely Southeast Asian flavor while staying modern and propulsive.

Legacy

While “The Raid 2” didn’t achieve the same sleeper-hit status as its predecessor, it solidified Gareth Evans as one of the premier action directors of the 21st century. Its influence can be felt across Western cinema, from John Wick to Extraction, and it remains a benchmark for martial arts choreography and visual storytelling.

Final Thoughts

“The Raid 2” isn’t just a sequel; it’s a statement. It’s what happens when a filmmaker refuses to play it safe and instead decides to push every boundary. It’s violent, stylish, and emotionally resonant — a rare action film that dares to be epic.

If you haven’t seen it yet, brace yourself. This isn’t just a fight movie — it’s a cinematic war dance.

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🎥 The Diplomat (2025) – A Full Movie Blog & Review

Director: Shivam Nair
Starring: John Abraham, Sadia Khateeb, Kumud Mishra, Sharib Hashmi, Revathy
Genre: Political Thriller / Drama
Language: Hindi
Runtime: Approx. 2h 15min
Release Date: March 2025

✒️ Introduction

The Diplomat is a gripping political drama rooted in the real-life story of Uzma Ahmed, an Indian citizen who was deceived into traveling to Pakistan under the guise of marriage and eventually sought protection at the Indian High Commission in Islamabad. The film is a tense, emotionally-charged retelling of her escape and the diplomatic effort led by JP Singh—brought to life by John Abraham—to bring her home safely.

Directed by Shivam Nair, who is known for his work on espionage and real-life thrillers like Naam Shabana and Special OPS, this film continues in a similar vein with a strong narrative driven by real events, international tension, and personal courage.

📖 Plot Summary (Spoiler-Free)

The film begins in Delhi, establishing Uzma’s background as a young, educated woman full of hope. Her journey to Pakistan starts on a seemingly positive note as she is promised marriage and a future, only to find herself in a nightmarish situation involving coercion, isolation, and abuse.

Once inside Pakistan, Uzma realizes she is trapped and her only hope lies in reaching the Indian diplomatic mission. What follows is a race against time, diplomacy, and complex cross-border politics. JP Singh, played by John Abraham, is introduced as a seasoned diplomat with a no-nonsense attitude and deep compassion. He maneuvers through the bureaucratic maze, engages with Pakistani authorities, and risks his own career to uphold human dignity and national honor.

👥 Character & Performance Breakdown

🧑‍💼 John Abraham as JP Singh

Abraham's portrayal is grounded and restrained. Unlike his usual high-octane roles, here he plays a thinker and negotiator—a diplomat whose strength lies in his resolve, intelligence, and moral clarity. His dialogue delivery is sharp, and he conveys emotion through silence more than theatrics, which serves the role well.

👩 Sadia Khateeb as Uzma Ahmed

Khateeb shines as the emotional core of the film. Her performance is raw, honest, and powerful—especially in scenes of captivity and courtroom testimonies. Her character arc from a victim to a survivor gives the film its emotional weight.

👤 Kumud Mishra & Sharib Hashmi

As supporting officers in the Indian diplomatic mission, they bring a touch of realism and bureaucracy. Mishra's performance as a seasoned bureaucrat adds gravitas, while Hashmi adds subtle humor and humanity.

👩‍⚖️ Revathy as Sushma Swaraj

Revathy’s cameo as the late External Affairs Minister is short but memorable. Her presence adds a historic touch and symbolizes the Indian state’s backing of its citizens abroad.

🎯 Themes & Analysis

🎓 Diplomacy vs. Politics

The film presents diplomacy not just as a political tool but as a human effort—an act of empathy and protection. It highlights how quiet negotiations, legal frameworks, and firm conviction can impact individual lives.

👩‍⚖️ Women’s Rights & Agency

Uzma’s journey is not just geographical—it’s a psychological transformation. The film gives voice to women who are often silenced by cross-border marriages, patriarchal societies, and political limitations.

⚖️ Truth vs. Bureaucracy

The layers of red tape, international mistrust, and local prejudices are brought to life vividly. JP Singh’s frustration with both sides’ inaction underscores how diplomacy is more about persistence than power.

🎥 Direction & Technical Aspects

🎬 Direction

Shivam Nair crafts a tight thriller that balances political tension with personal emotion. He avoids sensationalism, instead opting for grounded realism and emotional depth. The pacing, however, does dip slightly in the second half.

📸 Cinematography

The film features contrasting visuals: the sterile, bureaucratic interiors of the Indian High Commission juxtaposed with the dusty, claustrophobic spaces of Uzma’s captivity. Islamabad and New Delhi are shot in a way that emphasizes political tension rather than scenic beauty.

🎼 Music & Sound

Minimalist in its use of music, the background score by Tanuj Tiku enhances the suspense and emotional tension without overwhelming the scenes. Patriotic undertones are kept subtle and appropriate.

📰 Critical Reception

Critics have offered a range of responses:

• The Times of India (3.5/5) – Praised the film’s emotional weight and realism.

• Firstpost – Called Sadia Khateeb’s performance “revelatory and brave.”

• The Week – Commended the film’s integrity but felt it could’ve gone deeper into geopolitical implications.

• Pinkvilla – Found the screenplay too procedural and lacking cinematic flair.

Overall, the consensus is that The Diplomat is a thoughtful and restrained political drama elevated by its performances and real-life foundation.

📝 Final Thoughts

The Diplomat doesn’t aim to dazzle—it aims to make you think. It sheds light on unsung heroes behind diplomatic desks, the quiet battles fought by civil servants, and the emotional price of international incidents. John Abraham surprises with his introspective performance, while Sadia Khateeb emerges as a breakout talent.

This film is not just about diplomacy; it’s about justice, perseverance, and the power of one woman’s voice to move governments.

📌 Verdict:

Rating: 7.5/10
✅ Recommended for fans of political thrillers, real-life dramas, and emotionally resonant cinema.

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"Raid" Movie Review: A Gripping Tale of Courage and Corruption

Released: March 16, 2018
Director: Raj Kumar Gupta
Starring: Ajay Devgn, Ileana D'Cruz, Saurabh Shukla
Genre: Crime, Drama, Thriller

Introduction

Bollywood has often taken inspiration from real-life events to craft compelling stories. One such film is "Raid", a taut crime drama inspired by the most high-profile income tax raid in Indian history. Featuring powerhouse performances, tense sequences, and a morally driven storyline, "Raid" stands out as a solid example of socially relevant mainstream cinema.

Plot Summary

Set in the early 1980s, "Raid" follows Amay Patnaik (Ajay Devgn), an honest and principled IRS officer posted in Lucknow. Known for his integrity, Amay receives a tip about massive undeclared wealth hoarded by a corrupt politician, Rameshwar Singh aka "Tauji" (played brilliantly by Saurabh Shukla).

What follows is an intense 3-day standoff as Amay and his team conduct a meticulous raid on Tauji’s palatial home. As the pressure mounts from political interference, public scrutiny, and threats of violence, the film explores themes of duty, resistance, and unwavering courage.

Performances

• Ajay Devgn delivers a restrained yet powerful performance as Amay Patnaik. His quiet determination and steely resolve form the backbone of the film.

• Saurabh Shukla, as the cunning and egotistical Tauji, steals every scene he's in. His character adds both tension and dark humor to the narrative.

• Ileana D'Cruz plays Amay’s supportive wife, adding emotional depth to the storyline, although her role remains secondary.

Direction & Screenplay

Raj Kumar Gupta, known for "Aamir" and "No One Killed Jessica", directs "Raid" with a firm grip on storytelling. The screenplay keeps the tension alive throughout, despite the fact that most of the action unfolds within a single location — Tauji’s mansion.

What’s commendable is how the film avoids melodrama, instead opting for realism and restraint. The dialogues are sharp, often laced with subtle wit, and the pacing, though slow at times, builds the necessary pressure.

Themes and Impact

"Raid" goes beyond the surface of a typical crime thriller. It is a film about ethical duty, systemic corruption, and personal sacrifice. It sheds light on how the tax system works and the risks involved when one decides to uphold truth in the face of power.

In an industry often driven by glamor, "Raid" is refreshingly grounded. It reminds viewers of the unsung heroes in government services who risk their lives to do what is right.

Box Office & Reception

The film was both a critical and commercial success, earning praise for its performances and story. With a modest budget, "Raid" grossed over ₹150 crore worldwide, proving that content-driven cinema can thrive without formulaic action or romance.

Conclusion

"Raid" is a must-watch for those who enjoy gritty, realistic thrillers with strong performances and a socially conscious message. It reinforces the idea that change doesn't always come with fanfare — sometimes, it happens quietly in the corridors of bureaucracy, where courage is the only weapon.

Rating: ★★★★☆ (4/5)

If you haven't seen "Raid" yet, you're missing one of Bollywood's most riveting dramas of the last decade.

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Virunnu (2024): A Thriller That Misses the Mark

Virunnu, directed by Kannan Thamarakkulam and written by Dinesh Pallath, is a 2024 Indian action drama film that attempts to blend mystery, action, and drama. The film stars Arjun Sarja, Nikki Galrani, and Gireesh Neyyar in pivotal roles. Despite its promising premise, the movie struggles to deliver a coherent and engaging narrative.

Plot Overview

The story begins with the mysterious death of businessman John Kalathil. As the investigation unfolds, his wife Elizabeth also meets a tragic end in a car accident. In her final moments, Elizabeth urges Hemanth (played by Gireesh Neyyar) to meet a man named Balan. Hemanth embarks on a quest to uncover the truth behind these deaths, leading to a series of events that intertwine the lives of several characters. 

Performances

• Arjun Sarja portrays Deva Narayanan, a character with a strong screen presence. While his performance adds gravitas to the film, it is not enough to elevate the overall narrative.

• Nikki Galrani plays Perly, whose life is turned upside down by the tragic events surrounding her family. Her portrayal adds emotional depth to the film.Gireesh Neyyar not only stars as Hemanth but also serves as the producer. His performance has been criticized for lacking emotional depth, which detracts from the film's impact. 

• Supporting Cast: Mukesh, Sona Nair, Baiju Santhosh, and Hareesh Peradi contribute to the film's ensemble, though their roles are limited and do not significantly influence the storyline.

Direction and Cinematography

Kannan Thamarakkulam's direction employs rapid cuts and camera gimmicks in an attempt to create a fast-paced thriller. However, these techniques often result in a disjointed narrative that confuses rather than captivates the audience. The cinematography by Ravi Chandran and Pradeep Nair features lighting and framing choices that resemble those found in low-budget soap operas, particularly during the climax. 

Script and Dialogue

Dinesh Pallath's script feels outdated, with dialogues that seem more suited to the '90s. For instance, a scene where a character refers to young boys as "kanal" and uses the phrase "oru thari mathi" attempts to evoke emotion but comes off as awkward and out of place. 

Reception

Critics have largely panned Virunnu for its incoherent storyline and outdated filmmaking techniques. Abishek Balaji of Cinema Express rated the film two out of five stars, noting that while Arjun Sarja has a solid screen presence, the film's chaotic treatment hampers its potential. 

Conclusion

Virunnu had the potential to be a compelling thriller but falls short due to its outdated script, disjointed narrative, and lackluster performances. While Arjun Sarja's presence adds some weight to the film, it is not enough to salvage the overall experience. For those seeking a well-crafted thriller, Virunnu may not be the right choice. 

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"The Raid 2" – A Brutal Ballet of Violence and Vengeance

When Gareth Evans released The Raid: Redemption in 2011, action fans were blindsided by its raw intensity, claustrophobic setting, and relentless martial arts. Just three years later, The Raid 2 (2014) hit even harder—not just in physical blows, but in cinematic ambition. This was no longer just a survival story inside a crumbling building. This was crime, politics, betrayal, and blood—unleashed on a grand scale.

Plot: Expanding the World, Raising the Stakes

The Raid 2 picks up hours after the first film ends. Rama (Iko Uwais), the cop who fought his way through an apartment block of criminals, is dragged deeper into Jakarta’s criminal underworld. To protect his family and expose corruption, he's forced to go undercover, joining a crime family and befriending Uco, the hot-headed son of a powerful mob boss.

What begins as a covert mission spirals into a chaotic war between rival gangs, with Rama caught in the center. From grimy prison yards to neon-lit nightclubs and snow-covered fields, the world of The Raid 2 is broader, bleaker, and bloodier.

Action: Beautifully Brutal

If The Raid was tight and confined, The Raid 2 is expansive and operatic. The action choreography by Iko Uwais and Yayan Ruhian (who also appears as the enigmatic assassin, Prakoso) is a masterclass in precision and creativity. Evans directs fight scenes like a conductor leads a symphony—every swing, stab, and scream feels like part of a deadly ballet.

Highlights include:

• A mud-soaked prison yard brawl with dozens of participants.

• A one-on-one kitchen fight that has been hailed as one of the greatest hand-to-hand combat scenes ever filmed.

• The hammer-wielding "Hammer Girl" and her equally terrifying brother "Baseball Bat Man," who bring comic-book-style flair to a deadly world.

Themes: Corruption, Identity, and the Cost of Violence

Beneath the bloodshed, The Raid 2 has more on its mind than its predecessor. It’s a meditation on identity—how far one must go to survive in a world built on lies. Rama’s descent into the underworld erodes his moral compass, and by the end, it’s unclear if justice was ever truly served or if he’s just another pawn in a corrupt system.

Reception and Legacy

While The Raid 2 didn’t perform as well at the box office as some expected, it quickly cemented itself as a cult classic. It redefined the modern action movie, influencing filmmakers around the world. Directors like Chad Stahelski (John Wick) and the Russo brothers (Avengers: Endgame) have cited The Raid films as inspirations.

There were talks of an American remake and even a third installment, but Gareth Evans has since moved on to other projects. Still, The Raid 2 remains a pinnacle of action filmmaking—a film that doesn’t just entertain, but elevates the genre.

Final Thoughts

The Raid 2 is not for the faint of heart. It’s long, violent, and emotionally grueling. But for those who appreciate action with depth and artistry, it’s a masterpiece. It proves that with the right vision, even the most brutal violence can be cinematic poetry.

Feel The Power Of Sunny Deol In And As “JAAT”!

Plot Overview

Set in a coastal village plagued by the ruthless criminal Varadaraja Ranatunga (Randeep Hooda), the story unfolds as a mysterious outsider (Sunny Deol) arrives to confront the tyranny and restore justice. The film delves into themes of valor, resistance, and the battle between good and evil, encapsulating the essence of a classic action drama.

Performances and Direction

• Sunny Deol: At 67, Deol delivers a performance that resonates with his legacy in action cinema. His portrayal of the protagonist is marked by intense action sequences and emotional depth, reaffirming his status as a quintessential action hero.

• Randeep Hooda: Hooda's portrayal of the antagonist is both menacing and charismatic, adding a layer of complexity to the film's villain. His performance has been noted for its depth and intensity. 

• Regina Cassandra and Saiyami Kher: While both actresses bring strength to their roles, their characters are somewhat underutilized, with limited screen time that diminishes their impact on the narrative.

• Direction: Gopichand Malineni's direction brings a fresh perspective to the Hindi action genre, blending elements of South Indian cinema with Bollywood sensibilities. However, some critics have pointed out that the film occasionally relies on clichés and predictable tropes. 

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Baradwaj Rangan

“Finally”, the word which is in everyone’s mind after watching Veera Dheera Sooran. For me the feeling is additionally there for another reason, to have finally completed this review after a month’s time, with the film even in OTT already. For fans, more than the celebration, it was a sense of relief to see a Vikram film turning out to be good. For non fans, it’s a solid movie which would keep you engaged throughout. For a change, the happiest thing about the movie (in spite of being a Vikram fan) is that it’s the most un-Vikram like movie.

When we talk about the hit films of Vikram, even the biggest blockbusters would be noted for Vikram’s acting more than anything else. No matter how solid the story or direction is, it would be noted for Vikram’s performance. For Example, ‘Anniyan’ is an interesting story but Vikram made it his own, ‘Pithamagan’, an emotionally packaged rural drama with the best ever performance of Surya, but who steals the cake? Vikram. ‘Raavanan’, even a Mani Ratnam movie is known as a Vikram movie for the acting. There are some terrifically staged scenes and cinematography (shall I dare say that its Mani Ratnam’s best in terms of cinematography) yet when Veera comes out from behind that broken statue and delivers a scene, you forget everything else and notice only him. Damn, even Vikram’s lat muscles can act. I don’t think any other Mani Ratnam film gets called by the hero first, including ‘Thalapathi’ and ‘Nayakan’. The only film apart from ‘Veera Dheera Sooran’ where the film could be appreciated more than Vikram would be ‘David’. He was terrific in that too, but let’s keep it for some other day.

After all the years, here’s a film in which Vikram – for the sake of better word and English – sits in the character. During an interview, when Vijay Sethupathi was in his peak form, he was asked how he gets such films, such characters. His reply was, “I don’t see the weightage of character, I see how aptly it fits the script, I don’t mind how many other characters are there, my screen time etc. Andha mari character kedacha poi ukanthurnum” That’s what has happened with Vikram in this film. For a performer like him, I thought he’d be egoist and would want his character to be the one which gets talked about but I was happy to see that was not true. 

‘Veera Dheera Sooran’ is supposedly called massy by some and experimental by others. I feel both the words are extreme. No way I’m demeaning mass films. If it’s made properly like a ‘VIP’, ‘Ghilli’ or even ‘Siruthai’ there is no better joy in theatres. It’s a feeling like what Roger Ebert told in his review about Fargo, “Films like “Fargo” are why I love the movies.” I don’t think there can be a bigger compliment for a movie. But to say that ‘Veera Dheera Sooran’ is not a massy film like Sethupathi is an insult to the latter because it is a terrific film by itself. According to me, the second best film of Vijay Sethupathi, after ‘Andavan Kattalai’ is ‘Sethupathi’ which is not a usual police template movie. We see the human side of police. How sweet was it to see a police inspector taking selfie to send to his wife. And the massest scene of the movie is one where he stands in a shop after getting back his police job, where the kids say, “dei police da”. It’s not a scene where you stand up and shout in theatre, but smile. That’s how Arun Kumar writes mass scenes. Remember the scene where Kaali says, “Dei”.

On the other hand, it’s not experimental enough to call this an experimental movie. There are definitely elements of “experimentation” but thanks to the mediocre stuff we are watching, instead of us being happy for those few scenes, we feel it’s an achievement by itself. If this is called experimental, gods save Buñuel’s and Lynch’s.

It can’t simply be called a mix of both too because it doesn’t try to deviate from what it wants to say. The scenes are written with the aim to make it better, give the audience a great experience and not plain on-the-face ambitious stuff. That’s why I called it a solid film; it doesn’t mince with the scenes.

I loved the way it was titled Part -2 and it was cheeky, just like how Anurag Kashyap titled “Raman Raghav 2.0” (again as per me, his best film). It was clear that Arun didn’t want to make a Part 1 of the film but just go on with a story of people who have some past. I’ve always been fascinated with these “present tense” movies. I don’t know if there is any other cinematic term to describe it. I call “present tense” movies as the ones where we don’t get to know why a character reacts in a certain way, what’s his past etc. Arun seemed to have done this idea to perfection. The film holds your attention right from the word go.

As per Arun’s words the film doesn’t have a traditional three act structure but let’s consider it as three sambavams. The first one till the point where Kaali (Vikram) meets SP (S. J. Suryah) is a masterpiece, the tension in writing is terrific, especially the Kelangu scene. It was lovely to see another actor overshadow Vikram and that too not a big name. Yes, I’m talking about Venkat (Baalaji) here. Such a sweet character. Even though he has been part of all these brutality, how innocent he is made to look. It’s both well written and extremely well acted. And I loved the fact that there was no closure for that character. The last thing I wanted was him to kill Kaali and his family in the climax, like ‘Sketch’. I know it won’t happen with a writer like Arun, but I am still happy that it didn’t.

The second act is the crowd favorite, which Vikram owns it, but this would have been an ideal Part-1 climax or even better if had been written as a back story for Kaali but not brought to screens. When Ravi (Prudhvi Raj) mentions, “Antha sambavam gyabagam iruku la”, it builds a sense of intrigue in us. The movie should have dealt with that intrigue throughout without exposing it. That would have elevated the movie to next level and kept the tone intact. But I can understand that Arun had to make it for the film to appeal to everyone. Nothing wrong but the film could have been greater without it. But loved the way how Arun played a joke on everyone with that “Andha Oru Sambavam” scene where everyone in theatres would have almost got up from their seats but had to remain seated for few more minutes for the actual interval. Yes it felt like change in tonality but it was a funny one. It was lovely to see the director pulling a fast one on the audience. 

The third act, or the most routine one out of the lot was the less impressive out of the three. But Arun somehow manages it with the way he shot and his usage of music. The long take was nice, but I won’t call it as a scene which elevates the movie. The only happy thing about that scene was Vikram doesn’t own it; in fact other actors act better than him in that scene. Whereas there is a scene in act one where he goes to the fest to search for his family. For a man who is criticized for getup change, all he does is use a towel to mask but look at his fucking form. He could emote just with his eyes and look at the relief he shows while seeing the family. Probably for me that’s the best scene of the movie. And needless to say superbly shot too. Loved the tracking shot in that. 

The third act though has the weakest scene in the film, the one where he cuts Kannan’s hand (Suraj Venjaramoodu) because it was obvious that no way is Kaali going to die there but it was uninteresting to see him pick up an Aruval from nowhere and cut his hand. Just to make audience forget, loud music with the words Veera… Dheera… Soora… was used which was no way related to movie, just like how Ashish Vidyarthi says Project Bheemaa in the film ‘Bheemaa’. The audience loved it though, because this guy had craft. But when I watched the second time with majorly family audience, there was no response to that scene. But both times, the “singam pola” scene had tremendous response. Don’t know why that scene was criticized to be out of place. The fact that movie is set in Madurai and a reference song starts with, “Madurai veeran thanae” was a nice touch, while the other filmmakers are just minting money with famous old songs without any logic. If you had noted, even the ringtone of someone has one of Madurai songs in the movie.

Finally, the climax of the movie which gets overshadowed because of too many events happening prior to that needs a separate analysis. The whole story started because of the lday who asks for her husband in front of Periyavar’s house. We get to know through the climax that they were involved in an accident and it was Kaali who had admitted the lady in the hospital. I guess there was a reference earlier, in the scene where the flashback ends; we see an out of focus visiri (fan) which the kid holds. Probably something has happened there. Given that Vikram is never going to win on numbers game, how lovely it’d be if Arun experiments by making Vikram the bad guy in Part 1 and make us all detest for rooting such a person in Part 2. Instead of him being the guy who had helped them out of accident, how lovely it would be to see him as the guy who had caused the accident. Instead of being the one who got manipulated how nice it’d be to know that he’s the manipulator. In the mix there can be some unconventional love story between Kaali and Kalai too like Bonnie and Clyde. After all their names are anagrams. 

But the visiri scene could easily be one of the scenes which Arun uses as antics in his movies, the not so necessary ones but adds to the environment like how during Kaali’s introduction scene the phone drops in his pocket without him using the hands and while conversing with someone, he catches hold of his kid while he slips in front of his shop, both showing he’s still as sharp as ever. There is another scene where Kalai says to his boy, “ethane vati solrathu panathae nu”. We don’t know what it is, probably him rinsing his mouth in kitchen sink. Middle class moms hate it. There is also a scene where a pregnant woman vomits on road. That felt like the only unnecessary scene, the lighting too was different; it felt more like a morning shot. These little details are so in genuine and it’s so nice to see a director keeping them in an action movie. 

The strength of the movie is not only the script but the performances of actors too, apart from Vikram. Needless to say S. J. Suryah, Suraj Venjaramoodu are terrific actors. Especially the scene where the former plans the encounter was chilling. I would have expected to see more of Suraj, probably the only scene where his villainy is in full force is when he gives back the contract to S. J. Suryah and gives that psychotic smile. Dushara was underrated among the actors. It is one thing to look young and match up, which Vikram does effortlessly but Dushara looked older than she is and it is not just make up. For some reason her eyes are always droopy in the film, which adds to the character. Not sure whose idea it was but a superb touch. Even the way she smiles, it’s hard to tell that she’s acting. In addition to them and Baalaji, the small actors like the mufti police (Kalaiyarasan) and Periyavar’s daughter create such an impact with very few scenes. In a film where Vikram doesn’t have to do the heavy lifting of acting, the first scene where he waits for Periyavar is master class in acting; the close up shot almost makes us read his mind, with what all he’s going through at that moment.

After all these, if you’re still asking who Dilip is, I appreciate your innocence, but it’s not a film for you. With all the accolades I’ve given I’m no way calling it a perfect film. There is a long way to go but it’s a respectful film which respects audience, art and especially cinema.