A spectral and elusive figure in Vetri Maaran’s Viduthalai Part 1 (2023), Vijay Sethupathi’s revolutionary leader Perumal comes into full view in the sequel. Viduthalai Part 2 takes off right from where the previous movie ended and then loops back to the past to reveal Perumal’s induction into a Leftist party and his transformation into a Naxalite.
The first movie brilliantly depicted the police brutality that accompanied the hunt for Perumal, who was eventually captured by the lowly constable Kumarasen (Soori). Kumarasen joins the unit that is transporting Permual through a forest, the long journey allowing Perumal the opportunity to disclose how he went from being a teacher to a public enemy.
Shocked by a landlord’s cruelty, Perumal joins a Leftist party and is drafted into its union. He falls in love with and marries Mahalakshmi (Manju Warrier). The party’s work among the people leads to brutal pushbacks, which compel Perumal to diverge from his mentor KK (Kishore) and take up armed insurrection.
In the present, the progress of Perumal’s captors through the forest is being breathlessly followed by Chief Secretary Subramaniyan (Rajiv Menon). Keen on containing the fallout of Perumal’s capture, Subramaniyan exerts pressure wherever he can, proving Perumal’s belief – and the movie’s assertion – that violence and oppression begin at the very top.
Like the previous film, Part 2 smuggles into a conventional manhunt complex and cerebral ideas about the nature of injustice, the hollowness of institutions meant to protect citizens and revolutionary politics. Vetri Maaran’s screenplay, which is based on B Jeyamohan’s Thunaivan and Thangam’s Vengaichami, is attuned to the romantic currents of Leftist politics as well as the heart-racing rhythms of the thriller.
The film is densely plotted, intensely realised and richly detailed – perhaps too much so. Stuffed with characters and incidents, Viduthalai Part 2 is often unable to contain all of its ideas within its 172-minute runtime, leading to avoidable bloat.
The scenes in which Perumal and KK explain Leftist ideology play out like political science lectures. To offset the potential tedium of watching characters spouting pages of dialogue, Vetri Maaran and editor R Ramar opt for a frenetic editing pattern in which shots last mere seconds.
The double-flashbacking and intercutting between locations is matched by a hectic sound design. There are voiceovers and overlapping conversations. Illaiyaraaja’s songs are laid over dialogue. The poor dubbing is a minor distraction too.
Yet, R Velraj’s cinematography is distinctive, especially in the forest sequences and the flashbacks. It’s a pity that some of Velraj’s more evocative compositions barely register because the movie has far too much going on.
After the highs of Part 1, Part 2 embarks on a downward climb, setting somewhere at the middle. Didactic and overstretched in parts, Viduthalai Part 2 keeps interest levels from flagging by creating sharply observed scenes of power play and extracting excellent performances from characters major and minor.
The wily bureaucrat Subrayamiyan, deftly played by Rajiv Menon, is a standout among the secondary players. Chetan, as Kumaresan’s odious boss, is memorable too. As the only important female character, Manju Warrier is underserved.
While Soori’s superbly depicted Kumarasan was the focus of the first movie, Part 2 has Vijay Sethupathi at the front and centre. Sethupathi radiates casual charisma, anguish and rage, ably anchoring a film whose reach exceeds its grasp at times.
Also read:
‘Viduthalai Part 1’ review: A blistering portrayal of power run amok
