The government gives permission to a multinational company to dig a mineral mine in the mountain village of Arumapuri. The ‘people’s army’ is standing behind the common people there and resisting it with arms. To arrest its leader Perumal (Vijay Sethupathi) and destroy the group, 2 armed forces of the police camp. Policeman Kumaresan (Suri), who comes to the camp as a jeep driver, also finds a place in the hearts of the locals. A conflict between the police force and the people’s forces breaks out and it turns into a torture camp imposed on innocent people. The story of the first part is that Kumaresan who thinks that he can save them only by arresting Perumal.
Taking only the soul of Jayamohan’s short story ‘Thunaivan’, Vetrimaran has surprised by writing the screenplay for the two-part film.
State violence dealing with the people who stand against the profit-seeking bureaucracy and multinational companies and the militant groups that represent them is a great story field through an uncompromising screenplay and ends with previews that add great anticipation to the 2nd part.
The film unfolds the sides of each side like the government, the people, the militants, the police, and travels without leaning on anyone’s side. Despite the disclaimer that ‘all events and characters in the film are fictional’, this non-stance approach of the screenplay pushes the viewer to explore the social history of Tamil Nadu.
The main ‘cinematic’ focus of the first part is the context in which the two main characters Kumaresan – Perumal meet and at what stage of the story. It is another ‘cinematic’ moment that makes you wonder if the Kumaresan-Tamil Rasi romance can be portrayed so naturally.
Vethimaran has prefaced his ‘investigation’ by portraying the human rights abuses of the police department and the oppressive system that takes place in its hierarchy.
Actor Suri is impressive as Kumaresan. He has given dedicated work in a chase scene as well. Bhavani Sri as Tamil Rasi, impresses. Chetan and Gautham Vasudev Menon have competed in earning hatred
A train crash scene has never been filmed with such intensity before. Starting with that, Velraj’s camera lets us enter the story. Ilayaraja’s music and songs are perfect for this story.
As the conflict between the police and the militant group takes precedence in the story, scenes of extreme violence are inevitable. So, it is better for weak people and children to avoid this film.
A storyline that covers the people’s issues and the side of politics that speaks for them runs the risk of turning into propaganda at the slightest misstep. A great director’s screen persona can be about creating ‘cinematic’ moments and thereby making the cinematic experience possible. In it, Vetrimaran has upheld the meaning of his name this time as well.
