The two lead characters of Pushkar-Gayatri’s Vikram Vedha have one thing in common. They both are devout to their chosen profession with an obstinate belief in their respective approaches. The confidence they have in their approach with which they go about conducting their business pretty much provides them the drive they need and it also helps them define their moral compass ..a compass that gives them distinct clarity between black and white, in a world full of several shades of gray.
Why Vikram Vedha turns out to be one of the best Tamil movies in recent times is not because of the philosophies and the above principles that define the two lead characters. But because of Pushkar and Gayatri’s screenplay that quite intricately builds the plot for the viewer, leading up to a climax which works in the most cinematically engaging way possible. The element of suspense, when revealed during the climax makes the audience connect all the dots. The hallmark of a great movie & a brilliant screenplay is how much it makes the viewer think about the movie after he or she walks out of the movie hall. I was thinking about the intricate plot for a few hours after I walked out of the movie.
Both Madhavan and Vijay Sethupathi carry their roles with aplomb. Vijay’s character is a more relatable one for the Tamil audience. They have seen him in similar roles (not in a negative shade, but Chennai slang speaking, casual mannerism wielding, etc. etc.) and have cheered for him for his ability to breathe life into these roles. And yet, there was something more intense in this role and Vijay scores big in every opportunity he gets in the script.
Vikram’s role on the other hand was a bit more difficult for Madhavan to fit in and he pulled it off quite brilliantly. His character demanded balancing multiple relationships, each with a different set of nuances. Be it with a attorney wife, who is actually on the other side of the criminal case he is dealing with OR be it during his personal encounters with Vedha, the mobster whose downfall has been his mission and also the person who intrigues him the most by making him look at the gray side OR be it with his colleagues, with whom he shares his ideologies in the most pragmatical way possible with some kind of naiveté – These are some of the different shades of Vikram’s character that Madhavan had to carry on his shoulders.
Vedha is that introspective criminal, who was thrown into the mix due to circumstances. He is fully aware of what he is doing and hence keeps himself detached from other people, except perhaps for his love for his brother, a matter in which he had no choice. He deals with situations in a practical way, weighs his choices justly and sticks with his decision. He is smart and is persuasive.
The Vikram-Betal structure has been used to frame this intricate plot of what otherwise is a simple story. Pushkar and Gayatri have shown their humorous side in the past through their earlier outings and their penchant for brilliant one liners continue here as well but in a more unassuming way than you could imagine in a plot like this. Even though Sam CS’s background score is bright and energetic for this movie, providing the much needed gusto, he also overdoes it to some extent (would have preferred a softer approach in some sequences). The main theme chant inspired by the powerful “Aigiri Nandini” stands out and bodes well with the overall momentum of the movie.
In Vikram Vedha, we get to witness two characters from two sides of the socially dictated moral spectrum of “Right vs Wrong”, pitted against each other and making choices based on their instincts. When one of the two characters offers the other a different perspective and the other character agrees to accommodate a different perspective, the choice making is no longer instinctive but analytical.
And the buzz of “Oru Kadha Sollattaa Saar?” (“Shall I narrate a story, Sir?”) continues to ring in my ears.