Where Fans called it best and superb, on the other hand true critics called it average, Read more to know
Films that break out of their star vehicles are a joy to watch. Vidaamuyarchi opens with an extremely sensitive topic and treats it in such a gentle, judgment-free manner. Ajith (Arjun) is, at heart, a softie who is incapable of prejudice or hatred. It is impossible for him to stand by and watch the cops die, yet he cannot stand by and let them die. He is humiliated and cruelly treated by his enemies, but he feels no pleasure in doing so. Nevertheless, he seeks no retribution from his wife, who wants to move on from him. Rather than being a hero, Arjun is a vulnerable man forced into a fight he does not enjoy.
We observe this quality numerous times in the film. In the petrol station scene, there is clear evidence that Arjun is an emotionally mature man who isn’t looking to escalate matters. “They’re young and seeking trouble,” he states. Ordinarily, in our cinema, we are conditioned to expect him to transform into a vengeful demon figure, compelling his enemies to flee for their lives. Vidaamuyarchi, despite possessing the structure for it, refuses to turn Arjun into a Vedalam-like fearsome presence. It is such a courageous choice. Towards the end, when someone asks, “Nee enna hero-va?”, Ajith responds with an indignant no, almost pleading with them to understand. It feels almost like a cry to the world.
It isn’t coincidental that he kills no one. This isn’t that kind of film. His superpower isn’t his ability to kill a dozen people at once; what sets Arjun apart is his capacity to trust and maintain faith in others. Regina Cassandra’s character (who is excellent, by the way) doesn’t understand this. “Ippo kooda avala nambaraan ivan!” Heroism isn’t violence in this film; it’s the ability to trust and to persist in faith, even when an evil world (personified literally as a woman in the film) tempts you and provides enough reason to turn against your own.
I thoroughly enjoyed the film’s setup—the silences, and the beautiful ways in which the Azerbaijani landscape isn’t merely a backdrop, but an intrinsic part of the film’s storytelling. This isn’t geography used solely for beauty; it’s geography that dictates events (I appreciated how the foreign actors were utilised as well). In an Ajith film, you expect empty roads and vehicles in the storytelling, but here, it all unfolds organically, even as everyone and everything toys with Arjun’s mind.
Yes, the splendid setup probably doesn’t yield the kind of profound joys you might expect. Once the film transitions into a desperate search for a person, you encounter all the standard action blocks (I thought the fight with Arav-and-gang inside a car was executed particularly well). But it remains a beautifully crafted film, with many standout shots (especially from a top angle). Perhaps the origin stories for two characters needed to be more powerful; perhaps the film feels more enjoyable when you don’t yet know the answers than when you do.
But Vidaamuyarchi possesses a big, honest heart, much like its protagonist. It could have been shaped differently, into something grander, something more instantly gratifying, in keeping with our commercial cinema norms, but I appreciate that it doesn’t take that route. Because it doesn’t, we are granted the rare pleasure of witnessing a truly unique protagonist—not a hero, but a man who refuses to give up on others, even when they have given up on themselves (one character even confesses to hating himself).
In this film, Vidaamuyarchi isn’t about perseverance in work, as it is generally understood. Here, it’s about the spirit, about the tenacity required to maintain human connections. It’s a film that may not showcase grand heroism as we have come to expect; but it possesses more than one grand idea, for sure.
(Rating – 3.5 / 5)
