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Veera Dheera Sooran: Part 2 (2025) Free Download

       
Baradwaj Rangan


Readers Write In #795: Veera Dheera Sooran – A solid redemption



“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.


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