By Pakka Admin - Oct 17,2018
Vada Chennai Movie Review by Praveena| Dhanush, Ameer, Aishwarya Rajesh, Samuthirakani | Vada Chennai Movie Review
#VadaChennai #VadaChennaiReview #Dhanush
Vada Chennai Synopsis: A young carrom board player in north Chennai becomes a reluctant participant in a war between two powerful gangsters.
Vada Chennai Review: Vada Chennai opens with a murder, but we do not see the murder or the victim. Instead, we get a blood-stained sickle and a conversation between the murderers. These are Guna (Samuthirakani), Senthil (Kishore), Velu (Pavan) and Pazhani (Dheena). The guy they have killed is a big shot gangster and they discuss how they can now take his place. This is 1987. Cut to a year later, and we see that the four men have become rivals – Guna and Velu on one side and Senthil and Pazhani on the other.
The action then shifts to 2000, when we are introduced to Anbu (Dhanush), who is remanded to prison for a minor scuffle with Guna’s henchman Siva (Pavel Navageethan). To save himself from Guna’s gang, which controls one block of the prison, Anbu gets closer to Senthil’s gang, and even earns the trust of Senthil.
Meanwhile, the narrative keeps shifting a few years back and forth – to 1991, when Anbu meets Padma (Aishwarya Rajesh), an intrepid local girl, who he falls in love with; to 1996, when Anbu accidentally commits a murder that makes him indebted to one of the gangsters; to 1987, when we get the story of Rajan (Ameer), the leader of the fishermen, and Chandra (Andrea Jeremiah), and finally, to 2003, when Anbu is forced to stand up for his people and take on both Guna and Senthil.
This sprawling nature of the narrative and the various events that impact the lives of the numerous characters make Vada Chennai truly an epic (Santhosh Narayanan understands this and comes up with a score that is grand). Vetri Maaran’s rich detailing, be it the life in the prison or outside of it, helps us become a part of the story. Anbu is the protagonist, and gets the meatiest scenes. And Dhanush, in a role that has shades of the characters he played in Pudupettai and Aadukalam, gets some whistle-worthy masala moments, but like he did with Polladhavan, Vetri Maaran makes them organic and in character rather than empty heroism. The director ensures that the other characters have their moments.
That said the film does lack the hard-hitting quality and the moral weight (there is a sub-plot about the politician-corporate nexus driving people from their land, but it isn’t forceful enough) of Vetri Maaran’s previous film, Visaaranai. And the film doesn’t break new ground in the gangster genre. The plot points do have the elements that we associate with most gangster films – a reluctant hero, rivalry among gangsters, scheming politicians who use these gangsters for their own benefits, a femme fatale, violence that makes us flinch, expletives that shock – but the layered writing and the confident filmmaking ensure that these familiar aspects feel fresh.
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