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"He Will Be Deeply Missed": Vetrimaran Pays Tribute to Vetri Duraisamy
The news of Vetri Duraisamy's tragic passing struck a chord with many on February 4th. While traveling with friends in Himachal Pradesh, an accident in Kinnaur claimed his life, leaving a void in the hearts of those who knew him.
A search operation involving various teams, including the SDRF, NDRF, ITBP, and local police, recovered his body on Monday after a post-mortem examination. Divers located him three kilometers from the accident site.
Numerous political leaders and film personalities joined in grieving Vetri's sudden demise. Director Vetrimaran, a close friend and collaborator, organized a condolence meeting at his educational institution, IIFC, to honor his memory.
Sharing their profound connection, Vetrimaran acknowledged, "Vetri often said he learned cinema from me, but in reality, he taught me just as much. One thing we deeply shared was our love for nature and its creatures."
"He was an explorer, driven by a thirst for knowledge and adventure. For the past decade, he was my constant companion. Whether it was sourcing props for my films, musical instruments for our home, or simply finding joy in nature, he was always there, enthusiastic and supportive," Vetrimaran fondly recalled.
"Vetri's belief in supporting others led him to readily embrace the vision of IIFC. Without his unwavering support, the institute wouldn't be what it is today. He also actively contributed to his father's Humanities Foundation, demonstrating his genuine desire to help others," Vetrimaran continued.
He further highlighted Vetri's passion for wildlife photography, stating, "Vetri's curiosity and passion radiated through his award-winning wildlife photography. His recent expeditions to Africa for gorillas and the Arctic for polar bears showcased his dedication to capturing nature's wonders. Tragically, his life was cut short while pursuing his dream of photographing the elusive snow leopard."
"His infectious smile and genuine kindness extended not only to humans but to all living beings. His absence leaves an unfillable void. Life throws these unimaginable challenges at us. He had just completed his first film and was brimming with potential when this tragedy struck," Vetrimaran said with a heavy heart.
"To honor his memory, we plan to initiate awards at IIFC. One award will be dedicated to the first Tamil filmmaker, and another to wildlife photography, both bearing his name. We will share further details soon," he announced.
"Life brings us many people, some fleeting, others leaving an indelible mark. Vetri Duraisamy was the latter. His absence leaves a profound emptiness, but his memory will continue to inspire us," Vetrimaran concluded solemnly.
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Joseph vijay: vetrimaaran, maaran, vetri.
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Vetrimaran : You want to bury the truth? Son of a gun! No one can do that. 2 instead of 1 will take revenge you. Don't think our hands will always be lowered. One day... Some day or the other our hands will rise and speak!
Vetrimaran : A baby is born in 10 months. It takes 3 years to become a graduate. For a doctor or engineer it takes 4-5 years. But for a leader to be moulded... it takes a "yuga". We get only 1 leader for a generation. A leader isn't a mere word... it is trust in totality of an entire generation!
Maaran : TV, mixie, grinder, fan as freebies, Rs 5000 per vote, our state is known for doling out all this as if we can't give tablets?
Vetri : Kids love magic, and I love kids!
Vetri : The spark of fire you set aflame... will ask you to blaze in all its glory... The deeds of karma you sowed... will wait to slice and stamp you with fury!
Vetri : Man has faith in 2 entities blindly. One is God, the other is doctor. We tonsure our heads as a vow to God, but we trust a doctor with our life. That doctor should not go astray... A criminal should not be a doctor. Misdeeds happen everywhere, but in the medical field it isn't a mere misdeed. It is treachery. There is no forgiveness for that betrayal!
Vetri : People are more petrified of hospitals than dying of strange diseases. Only that fear... is the investment of private hospitals!
Vetri : There are million way to get rich, but medicine is not the route. Till the last broker in this business is busted and bashed... my struggle will continue.
Vetrimaran : Hereafter no one in this village will be deprived of medical aid. Let us build the hospital!
Vetrimaran : Listen carefully... When you know it is wrong, don't remove your conscience. Take off your police uniform!
Vetri : But before the last sword, I would like to say a poem for my Tamil friend Dr. Arjun, in Tamil... the mother of all languages!
Maaran : Because you say we have progressed, in a cinematic style let me quote our hero Vijaykanth. "In creating the best doctors and sending them to 34 foreign countries, India stands first." But at the same time, in providing proper medical aid for her own people, India occupies 112th place. 57.3% of doctors in India lack proper medical qualifications. Do you know the number of medical errors in India? 5.2 million. In a nation with a population of 1.2 billion... if only 120 people enjoy proper medical aid, it isn't called 'progress'.
Maaran : Medicine of high quality, free for humanity... that is my dream.
Maaran : In the midst of 100 efficient doctors, there are at least 10 doctors using medicine as a business tool. They will lose their cool hearing my replies... Are you angry?
Vetri : Nothing personal, just... service!
Vetri : So many lose their near and dear ones without proper medical facilities. The pain lodged in every common man's heart... his helpless fury.
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Why Vetrimaaran is the most interesting director in Tamil films today
Vetrimaaran is arguably among the most interesting filmmaker working in the tamil film industry. here’s documenting his rise and what it takes to be a talent like him..
His production house’s name, Grass Root Film Company, is a clear pointer to Vetrimaaran’s worldview. This Deepavali’s biggest release in Tamil Nadu is, arguably, Kodi (Flag), a political thriller he has produced that stars Dhanush in his first double role, as twin brothers. The twins may be identical but their natures are mutually exclusive. Refreshingly, Kodi casts Trisha as a feisty woman politico, giving Dhanush’s eponymous hero a run for his money.
“For a hero movie, it’s pretty decently written,” pronounces Baradwaj Rangan, film critic and associate editor at The Hindu. “There’s a conflict, there are surprises and even within a commercial film, it’s properly written and directed. It’s not some random moments strung together to get people whistling.”
The film’s premise is how politics and political interests shape communities and the quality of their life. In this case, it involves skullduggery surrounding a factory emitting toxic effluents. It could be happening not too far away from our backyards.
At the Oscars
Vetrimaaran himself, however, was conspicuous by his absence during Kodi’s promos. He has a bigger task on hand. Visaaranai (Interrogation), the part-docudrama, part-crime thriller he directed, is India’s official entry to the 89th Academy Awards in the Best Foreign Language Film category. So he is in the US persuading jurors take note of his film, which has some truly hairy torture scenes. The last Tamil film that made it to the Oscars was 16 years back: Hey Ram starring Kamal Haasan.
Usually, the choice of any film to represent the country at the Oscars polarises critics, but Visaaranai remains largely unchallenged. Rangan agrees. “Visaaranai was a fantastic film.”
It tells the story of innocent migrant labourers picked up and tortured by the police to extract a false confession for a fatal robbery at an influential man’s house. How the film, shot in 42 days on a Rs 2-crore budget and eventually wining three National Film Awards, got made is interesting. After his Aadukalam in 2011, Vetrimaaran had busied himself with his production ventures, Udhayam NH4, Poriyaalan and Kaaka Muttai. When he was prepared to shoot his next, the script he picked was Soodhadi, a story on gambling, proposing Dhanush in the lead role. However, the actor had to take time off to work in Balki’s Shamitabh, being shot in Mumbai.
Vetrimaaran was mooting a book adaptation when director Balu Mahendra’s assistant serendipitously presented him with Lock Up, a riveting, partly autobiographical book written by M Chandrakumar, a former autorickshaw driver. The book, which took five years to write and another four to publish, narrates his harrowing experience while in jail in (then) Andhra Pradesh.
“When I pitched the story to Dhanush, who later produced the film, I said I can only guarantee you a three-day weekend run at the box office. But it’s a low-budget venture; you’ll get your investment back,” Vetrimaaran laughs. “Dhanush was amused, but agreed to fund the project. [I thought] it’s the kind of film that would not bring in repeat audiences. I was proved wrong and it got a good three-week run.”
The author, Chandrakumar, was incarcerated for a fortnight way back in 1983. “Yet his experiences are relevant even today,” points out Vetrimaaran. “Visaaranai reflects a stark reality from which you cannot shut yourself out: that is its success. It was challenging to find the right kind of actors and locations. We employed real stuntmen who could exercise restraint while beating up the actors.”
“What was unique was that there were a lot of first-time actors in the film; that added rawness to it,” says K Hariharan, filmmaker and critic. “Actors like Samuthirakkani and Kishore were entirely on the sidelines. That made it an interesting watch.”
Astutely, the team decided to send it to international film fests right away, confident it would work with foreign audiences. Visaaranai premiered at the Orrizonti section of the 72nd Venice Film Festival, a first for a Tamil film, and won the Amnesty International Italia Award. Crucially, the European audience was exposed to a hitherto unexplored form of Tamil cinema that dealt with grim reality in a non-dramatic but powerful way.
“Europeans have a different policing system. They found my narrative a bit harsh, though they were moved,” explains Vetrimaaran.
A rooted voice
It is Vetrimaaran’s preoccupation with sometimes gritty, sometimes heartwarming reality that makes this 41-year-old one of the best filmmakers of our times.
“The best thing about the regional filmmakers is that they bring in a very ‘native’ feel,” says Rangan. “Like if I watch Nagraj Manjule’s Sairat for instance, I find [elements] that remind me of Vetrimaaran. But that’s more because these filmmakers do these ‘rooted’ things very well. They give you the sense of the atmosphere, the rhythms of life in that particular environment, they take care to bring them alive.”
His critically acclaimed debut venture, Polladhavan (Ruthless Man) in 2007, followed a lower middle-class young man’s search for his stolen bike, an exercise that takes him through the seamy underworld. Four years later came Aadukalam (Arena), a Pongal release that raked in six National Film Awards. The cockfight arena was where love, ego, honour, friendship and betrayal were played out in the rustic backdrop of Madurai.
Says Manimaran, long-time friend and assistant, “Vetri used to like watching cockfights in the neighbourhood in our hometown. So he thought we could develop a story around them.”
There was no doubt about who would play the lead. “I wrote Aadukalam keeping Dhanush in mind,” says Vetrimaaran. “As an actor, he delivers exactly what I need and sometimes more. As a producer, he offers me complete freedom and does not interfere at all. He trusts me completely.”
Rangan explains the Vetrimaaran touch, “There is a world of difference in the way he uses the song and dance elements in Polladhavan and Aadukalam. They have become more organic and rooted; they’re not fantasy elements.”
“I personally prefer Aadukalam to Visaaranai, but it’s like comparing apples and oranges,” says Hariharan. “Aadukalam had a certain kind of warmth and spontaneity. Visaaranai, to me, looked rather staged.”
He explains, “Visaaranai’s [appeal across the world] is that for the first time in Tamil cinema, you see this kind of brute reality without the director taking recourse to a love story or family drama. It’s also interesting that a country like India allowed such a strongly critical film on the system. There’s no doubt that Vetrimaaran is a bold filmmaker.”
Vetrimaaran’s productive chemistry with Dhanush has paid rich dividends. The two went on to produce Kaaka Muttai (Crow’s Egg) in 2015, a subversive film poking fun at what is regarded as cool - pizzas, in this case. This little gem, premiering at the Toronto International Film Festival, tracks two brothers from a Chennai slum dying to taste a pizza. Directed by M Manikandan with wit, not once is the children’s dignity compromised. Their family struggles in a heartless and corrupt city and soon we find ourselves cheering for our little heroes. Kaaka Muttai pocketed two National Film Awards.
“There is a stamp of quality that people have begun to associate with Vetrimaaran, because even the films he produces are pretty decent,” says Rangan, adding that he looks for, and gets, that certain quality.
Vetrimaaran’s genius lies in shining a light on people we would not even glance at in our rat race. His films show us that ordinary people often lead extraordinary lives if only we stop to talk to them.
Smitten by cinema
Born in Cuddalore near Puducherry and raised in Ranipet, a suburban town in Vellore district, two and a half hours from Chennai, Vetrimaaran was smitten by cinema even as a child. His mother, a writer, ran a school in the area, while his father was a veterinarian. Friends remember him as a film buff who watched every movie that came to town.
“He would bunk classes and watch them, each three or four times. Then he would come to the school ground where we used to hang out until 7:30 in the evening and would retell the whole story to us. My friends and I have actually walked out of the theatre at times because the film was nowhere as good as his narration. He still has that quality,” says Manimaran, his assistant.
Vetrimaaran was in his second year of Masters in English Literature in 1999 when the now-deceased filmmaker Balu Mahendra was invited to judge a short film contest at the Loyola College, Chennai. Shortly afterwards, he attended a seminar conducted by the director and was inspired enough to assist him in Julie Ganapathy, Athu Oru Kanaa Kaalam and the television series Kadhai Neram.
Athu Oru Kanaa Kaalam cemented his friendship with the lead actor, Dhanush, whom he describes as his best friend. While still assisting Balu Mahendra, Vetrimaaran pitched the story of Desiya Nedunchalai, and the actor readily agreed to play the lead.
Recalls Manimaran, “Producers were not hard to come by because we had Dhanush. But a few had misgivings about how Vetri would handle the project as a newcomer. So we tossed aside that script, which I later made into Udhayam NH4.”
The initial years proved to be rough. “I was pitching different scripts to different people for three years and it was the sixth producer who okayed Polladhavan,” says Vetrimaaran on his directorial debut.
Adds Manimaran, who assisted him in the project, “After the film was edited, we were really scared to show it to the producer. We kept stalling the screening telling him it may not have come out as he expected. Finally, when he saw it, he was satisfied. We were relieved and gradually grew confident.”
Pushing for excellence
When Manimaran himself forayed into direction with Udhayam NH4 in 2013, Vetrimaaran returned the favour by stepping in as producer under his banner, Grass Root Film Company. As he puts it, “I want my production house to be a platform for good, interesting ideas. I can find a producer for my films, but others, who may be first-time filmmakers, might have innovative scripts that mainstream producers might not understand. Like Kaaka Muttai for instance.
“I produce films in partnership as I may not be able to afford the entire budget. Dhanush ends up co-producing some of them as our tastes are similar. None of my producers ever ask me for the budget. I always make sure it is within their means and I can give the desired returns.”
For someone who has been successful both commercially as critically, Vetrimaaran has directed only three films in nine years. “For me, every film is a learning process. After each, I take time to unlearn. Then I find new content, learn it completely and then execute it.”
Manimaran describes his working process thus, “Many directors make changes to the script on the spot. But Vetrimaaran is different because he pays attention to detail. He puts in a lot of effort, so there may be last-minute adjustments with lighting and locations. Unlike working with other directors, you need to be available 24 hours.”
Outside of work, the father of two, who met his wife Aarthi while at college, likes to race pigeons, pretty much like the characters he portrays. His rootedness has also led him to voice the germ of an idea: setting up an organic farm eventually.
Rangan describes grit as the definitive quality of Vetrimaaran’s films, and praises his skill in animating the atmosphere in terms of the integrity of the characters, the plot, and the texture. “The way he shapes the characters and writes them, you feel that these are not [just] individual people; you get a sense of where they come from, where they belong. [They’re] not just some random characters floating around.”
His fans are already talking about his fourth film, Vada Chennai (North Chennai), an ambitious gangster trilogy he has been planning since 2003. After undergoing several changes of scripts and stars, Dhanush, Vijay Sethupathi, Amala Paul and Samuthirakkani are among those confirmed on the project that is currently under way. Slated for release next year, Vada Chennai is also bound to have the by-now classic Vetrimaaran stamp.
(Published in arrangement with GRIST Media.)
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- December 18, 2023 / 04:45 PM IST
Vetrimaaran
Vetrimaaran stands as a towering figure in the of Indian cinema, celebrated for his multifaceted contributions as a film director, producer, and screenwriter, primarily within the vibrant tapestry of Tamil cinema. As of 2021, his illustrious career has been adorned with accolades, boasting five National Film Awards, eight Ananda Vikatan Cinema Awards, and two Filmfare South Awards.
Born in 1975 in the culturally rich city of Cuddalore, Vetrimaaran inherited a legacy of academia. His father, Dr. V. Chitravel, a distinguished veterinary scientist, and his mother, Megala Chitravel, a respected novelist, provided the backdrop for his early years. The seeds of his cinematic journey were sown during his tenure at Loyola College, where a course on television presentation ignited his passion for the art of filmmaking.
The pivotal juncture in Vetrimaaran’s career came through his association with veteran filmmaker Balu Mahendra. Serving as one of Mahendra’s lead assistants, Vetrimaaran gleaned invaluable insights into the nuances of filmmaking. Faced with the perennial dilemma of choosing between academia and the allure of cinema, Vetrimaaran chose the latter, forsaking his academic pursuits at Loyola to chart a course into the world of films.
His directorial debut, “Polladhavan” in 2007, was a cinematic endeavor inspired by the quest for a lost bike. The film garnered acclaim, with Vetrimaaran’s directorial style drawing favorable comparisons to Balu Mahendra’s illustrious approach. The subsequent venture, “Aadukalam” (2011), delved into the intense world of cockfighting in Madurai and earned Vetrimaaran six National Film Awards, solidifying his status as a formidable directorial force.
In an expansion of his cinematic footprint, Vetrimaaran founded the Grass Root Film Company, a production house that would serve as a vehicle for his creative endeavors. “Visaranai” (2015), a film exploring the brutal hardships faced by Tamil laborers at the hands of the police, emerged as India’s official entry to the Academy Awards, shedding light on societal injustices.
The ensuing years witnessed Vetrimaaran’s continued ascendancy. Collaborations with actor Dhanush in films such as “Vada Chennai” (2018) and “Asuran” (2019) not only garnered critical acclaim but also tasted success at the box office. “Vada Chennai,” in particular, distinguished itself by portraying the narrative of a skilled carrom player ensnared in a gripping gang war. In his role as a producer, Vetrimaaran championed several noteworthy films, including “Poriyaalan” (2014) and the critically acclaimed “Kaaka Muttai” (2015). Both his directorial ventures and productions consistently received accolades, establishing him as a revered figure within the film industry.
Vetrimaaran’s creative prowess extended to the anthology “Paava Kadhaigal” (2020), where his segment, “Oor Iravu,” delved into the sensitive issue of honor killings. The segment, marked by its powerful storytelling and deft direction, earned acclaim from audiences and critics alike.
Throughout his illustrious career, Vetrimaaran’s films have been a canvas for exploring diverse themes, seamlessly blending realism with commercial elements. His ability to capture the essence of societal issues and present them cinematically has bestowed upon him the status of one of the preeminent directors in the panorama of Indian cinema.
More Details
| Name | Vetrimaaran |
|---|---|
| Also Known as | Vetrimaaran |
| Date of Birth | 04/09/1975 |
| Current Residence | Chennai |
| Religion | Hindhu |
| Nationality | Indian |
| Hobbies | reading, writing |
| Father | Dr. V. Chitravel |
| Mother | Megala Chitravel |
| Spouse | Aarthi |
| Children | Poonthendral, Kathiravan |
| Educational Qualification | Graduation |
| College (s) | Loyola College |
| Debut Movies | |
|---|---|
| Language | Movie Name |
| Tamil | Polladhavan |
| Awards List | ||||
|---|---|---|---|---|
| Year | Award | Category | -->Movie Name | |
| 2007 | Vijay Award for Best Director | --> | Polladhavan | |
| 2011 | National Film Award for Best Director | --> | Aadukalam | |
| 2011 | National Film Award for Best Screenplay | --> | Aadukalam | |
| 2011 | Filmfare Award for Best Tamil Director | --> | Aadukalam | |
| 2019 | National Film Award for Best Feature Film in Tamil | --> | Asuran | |
| 2016 | National Film Award for Best Feature Film in Tamil | --> | Visaranai | |
| 2015 | National Film Award for Best Children's Film | --> | Kaaka Muttai | |
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Every Vetrimaaran Film Ranked and Where to Stream Them
Tamil filmmakerVetrimaaran belongs to a breed of directors whose taut scripts, apt casting, and realistic storyline treatment have fundamentally changed the very nature of mainstream filmmaking. Vetrimaaran films are made for a multicultural audience and backed by the strength of their storytelling and sculpted dialogue, which has reinvigorated the art of popular cinema with a breath of fresh air.
Each film is imbued with a powerful, coherent aesthetic that guides viewers through a dark matrix. At its best, it augments a captivating narrative and sinks viewers into a world of rural and urban Tamil Nadu social realism. The reality that’s depicted is populated with more fallible and life-like characters. The cinema of the carnivalesque, with its larger-than-life characters, melodramatic orientation, and highly romanticized canvas, is something that does not whet his appetite for creativity.
With a filmography of six features and one short film as a director, he has earned his reputation as one of the most accessible filmmakers of the last decade. His style flourishes in a deliberate, soothing rhythm, creating an atmosphere rich with realistic undertones. While some viewers may find his films brutally intense and emotionally jarring, they are also unexpectedly heartwarming, offering moments of surprising tenderness amidst their ruthless depictions.
6. Polladhavan (2007)
Vetrimaaran’s debut feature film opens with a gruesome and brutal fighting sequence. Then, using flashback, the filmmaker takes us into the dynamic world of contemporary Chennai, where an educated young man, Prabhu ( Dhanush ), fights injustice and, in the process, is forced to unleash the animal within him.
Also, Read: Every Sriram Raghavan Film Ranked
The protagonist is an unemployed youth who confronts his father (Murali), and an argument regarding the responsibilities of parents towards their offspring ensues. As a result of this conflict, Prabhu gets a hefty amount from his father, and he uses the money to purchase a Bajaj Pulsar bike. This appears to be a wise investment because owning the vehicle enables him to get a job and earn respect in society. But the situation takes a drastic turn when a gang of anti-socials steals his bike. After that, the film presents the viewers with the transformation of resilience into power and its hold over the life of an individual’s struggle to maintain his position in the harsh reality of everyday life.
The plot of the film has similarities with Wang Xiaoshuai’s Bejing Bicycle (2001). But the well-worked-out mise-en-scenes of “Polladhavan” make it an entertaining tale of a casual, urban, carefree person’s conversion into a person of genuine worth and true dignity. “Polladhavan” was remade in Kannada as “Punda,” in Telugu as “Kurradu” starring Varun Sandesh, in Sinhala as “Pravegeya,” in Bengali as “Borbaad” (2014), and in Hindi as “Guns of Banaras” (2020). However, none of them could achieve the excellence earned by the original version.
Where to Watch:
5. aadukalam (2011).
As the roosters combat in the arena with each other, it becomes a fight of the egos of the individuals who own the fowl. So, when Karuppu’s rooster emerges victorious, he not only earns a lot of money but also the enmity of his bosses, Periyasamy (V. I. S. Jayapalan) and Rathnasamy (Naren). From then onwards, the life of our protagonist will be filled with one hurdle after another as the tale of loyalty, self-esteem, deception, and honor unfolds.
Related Read to Vetrimaaran Films: 10 Great Tamil Movies You Can Stream On Netflix Right Now
In his sophomore venture, Vetrimaaran presents a varied cultural pattern of rural Tamil Nadu. He uses realism, tradition, and contemporaneity, soaked in local flavor within the narrative structure of his tightly structured screenplay. The conflicts introduced within the plot points create tension by employing smart conventions that are able to sustain the viewer’s anticipation. The film’s editing pattern makes a commendable pace and multi-layered visual design that heightens the film’s impact. Though the filmmaker has openly admitted that he was inspired by the dogfighting scene of “Amores Perros” (2000), Vetrimaaran has infused his style and poise within the narrative.
Despite its strong content and potential for box-office success, filmmakers from other regions have not dared remake the film until now. The reason is that the film’s milieu is so rooted in Tamil Nadu. At the 58th National Film Awards, the film won five awards: Best Director, Best Screenplay, Best Editing, Best Choreography, and Special Jury Award for Acting.
4. Viduthalai: Part I (2023)
Vetrimaaran’s “Viduthalai,” based on prolific author Jeyamohan’s short story “Thunaivan,” started as a low-budget project like “Visaranai,” reintroducing comical actor Soori as the protagonist. But considering the story’s scope and the casting of Vijay Sethupathi as the rebel leader Perumal ‘Vaathiyar,’ “Viduthalai” became the long-gestating project in Vetrimaaran’s career. Set during the turbulent 1980s period in Tamil Nadu and heavily drawing from the documented cases of police brutality (like the Vachathi case), “Viduthalai: Part I” unfolds from the perspective of Kumersan (Soori), a low-ranked police official assigned to the special police battalion in charge of quelling the Tamil People’s Army’s rebellion, and catch its leader, Perumal. Kumerasan drives the police jeep in the hilly terrain and witnesses firsthand the various oppressive tactics to displace the tribal communities and clear the land for the mining operations.
“Viduthalai: Part I” is not only the most brutally violent film in Vetrimaaran’s filmography but also one of the most disturbing films ever made in Tamil cinema. The graphic depiction of the police authorities’ violence – particularly against women – can profoundly distress the viewers. Like Vetrimaaran’s previous works, “Viduthalai” highlights the major issues of environmental exploitation and social injustice. Yet one could wish the film was relatively concise and not make us wait for the answers with a sequel that’s going through one reshoot after another. The most significant discovery of “Viduthalai” is Soori as the leading man. Unlike most comedian-turned-lead actors, Soori has proved his incredible acting range and followed it with versatile performances in “ Garudan ” and “Kottukaali.”
3. Asuran (2019)
What becomes the last resort for a farmer who goes on the run with his family as he is compelled to protect his son, who has murdered a wealthy upper-caste landlord in a fit of vengeance? The reply should be to fight with the oppressing forces and reclaim his identity. That is precisely what Sivasaami (Dhanush) does to break away from the uncomfortable social status he has inherited. Based on the novel “Vekkai” by Poomani, Vetrimaaran’s screen adaptation is so watertight that every occurrence in the screenplay feels alluring.
Related Read to Vetrimaaran Films: Asuran (2019) Review: Rise, Asuran, Rise!
With “Asuran,” Vetrimaaran continues his excellent cinematic flair as a director, enhancing his commendable grasp on the tropes of mainstream cinema. The film also benefits from technical polish – the cinematography, background score, and editing are all top-notch. “Asuran,” too, has gut-wrenching violence and prepares the viewer for the edge-of-seat tension. The narrative follows a rhythm where the plot is revealed without wasting much of the screen time. The film belongs to the genre of revenge saga, which is told from the perspective of an oppressed caste protagonist.
It’s one of those mainstream films that fulfills a social purpose, for it’s hard to imagine anyone viewing “Asuran” and not abhorring the evil practice of casteism in our country and how it voluntarily degrades human values and status. At the Norway Tamil Film Festival Awards 2020, Vetrimaaran won the award for best director. The film also won two National Film Awards—Best Feature Film in Tamil and Best Actor.
Read the Complete Review of Asuran (2019) Here
2. visaranai (2016).
Based on the novella “Lock Up” by M. Chandrakumar, Vetrimaaran’s third outing in its first half has such brutal scenes of police torture that one could genuinely feel the bestial act of police torture. The viewers are compelled to cringe and empathize with the plight of four helpless souls. The film’s narrative can be strictly divided into two sections. Four Tamil migrant workers are falsely accused in a burglary case that has taken place at a wealthy and affluent man’s bungalow in Andhra Pradesh. The police beat these four men, black and blue, and want them to confess. Not able to withstand the pain, they agree to accept the charges. Once they are produced in the court, the film’s narrative takes a twist, and the viewers are presented with one shocking surprise after the other.
The filmmaker displays superb craftsmanship and commitment to an engaging dramatic tale that ends in a tragedy. The film subtly depicts that the characters in the movie become victims because of the system that protects criminal behavior. It is a profoundly troubling film that is devoid of cathartic and healing moments. Vetrimaaran is not hesitant to construct the brutal scene with ease, and he is not afraid to carve out his unique style. The film premiered at the 72nd Venice International Film Festival, where it won the Amnesty International Italia Award. Back home, it won three National Film Awards: Best Feature Film in Tamil, Best Supporting Actor, and Best Editing.
1. Vada Chennai (2018)
A tale of criminal activities narrated in a non-linear pattern over the span of more than two decades is the perfect recipe for a crime drama. Vetrimaaran’s narrative takes the viewers on a journey lasting nearly a hundred and sixty-four hours. It introduces them to the world of guilt, regret, and vital decisions leading to loyalty turned into betrayal. The protagonist of the film Anbu (Dhanush) is an expert carrom player but his life gets entwined into the world of crime. He gets pulled into the vortex so deeply that penitence alludes to him after a point in time.
Related Read to Vetrimaaran Films: Top Tamil Movies of 2018 and Where To Watch Them
With an ensemble cast, the film’s story is set in the underbellies of North Chennai, as the title implies, and the film’s theme is more nuanced than the conventional black-and-white morality tales where evil is punished by good at the end. “Vada Chennai” blatantly showcases the graphic world of crime and violence and investigates the nature of friendship and the ethics of vigilantism. Vetrimaaran’s script is a masterclass in non-linear narration. He delves deeply into the minds of his conflicted characters and explores how marginalized people grapple with moral codes and their emotions.
He further engages with many of the most fundamental questions about our humanity and how we relate to one another in a complex world. The stylistic elements in the film earn comparisons, bearing marked connections to several of Vetrimaaran’s other films. The film won the Best Film (People’s Choice Award) at the Pingyao International Film Festival 2018. At the Filmfare Awards South, Dhanush won the trophy for the Best Actor.
Read the Complete Review of Vada Chennai (2018) Here
Special mention: oor iravu (2020).
“Oor Iravu” is a part of the Tamil anthology drama “Paava Kadhaigal” (2020). Owing to its shorter running time, I have included it in the special mention category. On the surface level, the film depicts the tale of a daughter, Sumathi (Sai Pallavi), who had eloped from her village and now has reunited with her father, Janakiraman (Prakash Raj). However, as the story progresses, we discover the sensitivity and intricacies of the complex human psyche of individual characters within the film.
Also, Read: Paava Kadhaigal (2020) Netflix: Sinful Filmmaking under the Garb of Hard Hitting Social Drama
Vetrimaaran treated the film with a bold and innovative style, choosing a subject in which form and content merge. The pacing is not fast like in his other films; instead, it is a slow study of how Sumathi’s decision has impacted the lives of various family members. Vetrimaaran did not deviate from his usual style of narrative exploration, but he brought an understated rhythm to the unfolding of the events. “Oor Iravu” ends on a depressing note as we realize that such evil things are a reality and will continue to happen unless and until the evils of casteism are not obliterated from our society.
Vetrimaaran Links: IMDb , Wikipedia
Dipankar Sarkar is a freelance writer on various topics related to cinema. His articles have appeared in Scroll, The Hindu, Livemint, The Quint, The Tribune, Chandigarh, Upperstall, and vaguevisages.com amongst others.
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Known For Directing
Known Credits 36
Gender Male
Birthday September 4, 1975 (49 years old)
Place of Birth Cuddalore, Tamil Nadu, India
Also Known As
- Vetri Maaran
- வெற்றிமாறன்
- Vetri Maran
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Vetrimaaran
Vetrimaaran is an Indian film director, screenwriter and film producer working in the Tamil film industry. His works, predominantly social issue dramas and action crime films, have been acclaimed for their gritty realism and scope. He is the recipient of five National Film Awards, eight Ananda Vikatan Cinema Awards, two Filmfare South Awards and the Amnesty International Italia Award from 72nd Venice Film Festival.
Vada Chennai
Viduthalai: Part I
Polladhavan
Paava Kadhaigal
Adhu Oru Kana Kaalam
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Indian - Director Born: September 4, 1975. I don't find anything black and white; I find grey in every person, and that is what excites me. Vetrimaaran. The budget of 'Vada Chennai' is nearly Rs 60 crores. Vetrimaaran. Rajkumar was the winner of 'Naalaya Iyakkunar Season 2,' and I was impressed with his short film.
Quotes Interpret. In his quote, Vetrimaaran emphasizes the importance of pursuing one's passion and belief rather than solely aiming for success. He suggests that by engaging in what we truly love and have faith in, success will naturally follow. Vetrimaaran's advice encourages individuals to align their aspirations with their authentic desires ...
Vetrimaaran. 9. I wrote 'Aadukalam' keeping Dhanush in mind. As an actor, he delivers exactly what I need and sometimes more. Vetrimaaran. 8. Smaller films that have a great run at the festivals usually result in the audience promoting the film on social media and so on. Vetrimaaran. 7.
These are the best Vetrimaaran Quotes, and they're great for sharing with your friends. Visaaranai' reflects a stark reality from which you cannot shut yourself out: that is its success. Vetrimaaran. I am a serious filmmaker, and I see the whole process of filmmaking more as a piece of art.
Director Vetrimaaran has lately been making films about oppression. Be it Asuran, a bloody tale of a socially backward farmer, or his latest film, Viduthalai Part 1, an anti-establishment film about the violence meted out by police in tribal villages, the director has been making powerful statements with his movies.
Vetrimaaran - Wikipedia
All that said, Vetrimaran doesn't bargain on some of the profound aspects of his craft. For instance, the particularity in sound, holding the underlying conflict tight and making a believable world.
Vetrimaaran was part of the second edition of the CII Daksin Summit, the largest media and entertainment summit in South India. The National Award-winning director spoke about the reason why South Indian films are transcending borders. "They say art doesn't need language and border, but art has its own language and culture," he began.
Filmmaker Vetrimaran mourns the sudden passing of his close friend and collaborator, Vetri Duraisamy. Delve into their deep bond, shared passions for film and nature, and how Vetri Duraisamy's life and contributions influenced Vetrimaran's journey. This heartfelt tribute explores loss, friendship, and the enduring legacy of a life well-lived.
The National Award-winning filmmaker has so far directed five feature films of which two are adaptations of Tamil novels. His upcoming films Viduthalai and Vaadivasal are also based on Tamil literary works, which makes Vetri Maaran, a vital link between Tamil literature and cinema. Not just that, he has also cracked the formula of using serious literature for making commercial films.
Maaran: Because you say we have progressed, in a cinematic style let me quote our hero Vijaykanth.In creating the best doctors and sending them to 34 foreign countries, India stands first. But at the same time, in providing proper medical aid for her own people, India occupies 112th place. 57.3 of doctors in India lack proper medical qualifications.
Vetrimaran : A baby is born in 10 months. It takes 3 years to become a graduate. For a doctor or engineer it takes 4-5 years. But for a leader to be moulded... it takes a "yuga". We get only 1 leader for a generation. A leader isn't a mere word... it is trust in totality of an entire generation! Maaran : TV, mixie, grinder, fan as freebies, Rs ...
Nov 02, 2016 08:05 PM IST. Vetrimaaran is arguably among the most interesting filmmaker working in the Tamil film industry. Here's documenting his rise and what it takes to be a talent like him ...
Born in 1975 in the culturally rich city of Cuddalore, Vetrimaaran inherited a legacy of academia. His father, Dr. V. Chitravel, a distinguished veterinary scientist, and his mother, Megala Chitravel, a respected novelist, provided the backdrop for his early years. The seeds of his cinematic journey were sown during his tenure at Loyola College ...
Director #VetriMaaran talks to Baradwaj Rangan about his latest film #Asuran, #Dhanush's performance and how he has given it his everything, how he adapted a...
#vetrimaaran #viduthalai #vaadivaasal #directorvetrimaaran #Dhanush #vadachennai2 #visaranai #cineulagamVetrimaaran - An Inspiring Icon | Viduthalai | Vaadi...
Vetrimaaran's innate and authentic storytelling approach, his crafting of characters with layers and nuances, deeply rooted in the local culture, evident not only in their later works Vada Chennai (2018) and Asuran (2019), which earned Dhanush his second National Film Award for Best Actor, but consistently throughout, undoubtedly contributes to the dynamic chemistry between the actor and the ...
Where to Watch: 1. Vada Chennai (2018) A tale of criminal activities narrated in a non-linear pattern over the span of more than two decades is the perfect recipe for a crime drama. Vetrimaaran's narrative takes the viewers on a journey lasting nearly a hundred and sixty-four hours.
Vetrimaaran is an Indian film director, screenwriter and film producer working in the Tamil film industry. His works, predominantly social issue dramas and action crime films, have been acclaimed for their gritty realism and scope. He is the recipient of five National Film Awards, eight Ananda Vikatan Cinema Awards, two Filmfare South Awards and the Amnesty International Italia Award from 72nd ...
Vetrimaaran has celebrated the total number of 49 birthdays till date. See the analysis by days count and bar graph. Vetrimaaran (Indian, Film Director) was born on 04-09-1975. Get more info like birthplace, age, birth sign, biography, family, relation & latest news etc.
National Award-winning filmmaker Vetri Maaran, who is celebrating his 46th birthday on Saturday, is one of the new formidable voices in Tamil cinema.
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TOP 25 VETERINARIAN QUOTES