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| VIRUDHAGIRI
MOVIE REVIEW |
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| Review
by : Behindwoods review board |
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| Starring:
Vijayakanth, Meenakshi, Arun Pandian
Direction:
Vijayakanth
Music:
Sundar C Babu
Production:
Captain Cine Creations
Delivering
political ideologies and agendas has been
Captain Vijayakanth’s motive in
‘Virudhagiri’. The actor unflaggingly
focuses upon the recent issues like Indian
student’s attack in Australia and
brutalities against transgenders, which
haven’t been sensationalized in
any films before.
Most of the socio-commercial movies would
have
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the
protagonists combating against bad politicians for
society’s well being. On the contrary, ‘Virudhagiri’
proves to be different by touching upon some of the
important issues. Vijayakanth delivers with his directorial
touch for adding some essential ingredients in narration.
The film is based on Liam Neeson starrer Hollywood
movie ‘Taken’, an emotional thriller indeed.
However, Captain’s idea linking the Australian
attack on Indian students with this plot makes it
interesting.
Virudhagiri (Vijayakanth), a sincere police officer
endeavors in safeguarding the societal peace. Gaining
international recognition for accomplishing a security
task in foreign countries, he returns to Chennai handling
a serious case of transgenders being scourged to death
for organ racketing. On an unexpected turn, his niece
(Madhuri Idaki) undertakes a trip to Australia, where
she gets kidnapped by a group of strangers. Using
his high-skilled intelligence activities, Virudhagiri
flies down to the foreign land for the rescue.
Vijayakanth outlines whole lot of hard-hitting problems
through dialogues that often wins applause from his
audience, which includes the present film industry
related issues of piracies... One such example is
when Mansoor Ali Khan says “Avanga vaarisu edukuru
pandanga mattum marketla varavae varadhu. Matthavan
padam release aana anikke vandhududhu”. The
title song ‘Makkal Oru Puram’ distinctly
speaks off the actor’s expression on present-age
political system. Implying the importance of Tamilians
and their accomplishments in various arenas across
the globe easily gains the attention of audiences.
Vijayakanth deserves special pat for not being enslaved
to clichés like heroines falling in love with
him and dancing duet numbers. The actor thereby strides
on a clear route and avoids such unwanted ingredients,
which otherwise would have been a spoiler.
But on the flipside with other characters in the film
relentlessly praising the protagonist, it evokes delight
only amongst his fans, while for others it may turn
an ordeal. The self-aggrandizing liners penned by
Vijayakanth go limitless after a certain extent, which
should have been avoided. He goes irresistible over-singing
self-praises to the baddies in foreigners. The screen
play sometimes appears disconnected.
The picturizing of trigger-violent sequences of gruesome
massacre of transgenders could have been softened
as it creates aversion. Boopathy should have handled
these shots in a moderate way while his creative placement
of lens in few places, especially the action sequences
is appreciable. Sundar C Babu’s title song ‘Yezhaigal
Thozha Vaa Va’ is a pure political propaganda
while ‘Makkal Oru Puram’ goes in right
tunes.
The motive of Vijayakanth is very clear. He has used
Virudhagiri as a communication vehicle to convey his
thoughts at the same time satisfying the entertainment
quotient to the audience. If you go with an unbiased
notion, the film may appeal to you. For the hard core
Vijaykanth fans, Virudhagiri is a treat!
Verdict: Captain’s self-promotion
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| Tags
: Vijaykanth,
Meenakshi
Dikshit,
Virudhagiri,
Arun
Pandian,
Sundar
C Babu |
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