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Veerame Vaagai Soodum Movie Details

Veeramae Vaagai Soodum is a 2022 Indian Tamil-language cop action thriller film written and directed by Thu Pa Saravanan and produced by Vishal under the banner of Vishal Film Factory. The film features Vishal and Dimple Hayathi in the lead roles. Vishal plays the role of a common man. This was also the last film of noted actor-director R. N. R. Manohar who died on 17th November 2021 in Chennai from COVID-19 complications & was posthumously released in February 2022, 3 months after his death.

Veerame Vaagai Soodum Movie Review

Veeramae Vaagai Soodum (VVS) begins with a prologue that jumps between three different incidents. A gang is on its way to exact revenge on a man they kidnapped. The other two depict a gang of kids and a few minor criminals who are waiting for someone. The film’s highlight is how director Thu Pa Saravanan allows these three tracks to unfold concurrently and eventually pulls them together.

But first, we meet Porus (Vishal, who is adequate) and his family, including his father (Marimuthu, who plays a softer character for a change), a lowly constable who merely follows his superior’s orders; his mother (Thulasi, in a routine role), a typical middle-class housewife; and his college-going sister Dwaraka (Raveena Ravi, poignant). Then there’s his pal (Yogi Babu) and his lover Mythili (Dimple Hayathi, okayish), who works at a bank. Dwaraka is harassed by Guna, the brother of a local tyrant, and the confrontation escalates to the point where the girl commits suicide.

Meanwhile, there are two subplots. One is Parisutham (Elango Kumaravel, moving), who is fighting alone against a plant run by Nedunchezhian (Baburaj, underwhelming), a rich gangster-type trying to enter politics, that is polluting his town. Then there’s Divya, who needs to defend herself against four college boys with huge connections who have shot an obscene video of her.
All three tracks build to a point where the villains are humiliated and want to retaliate. But then something goes wrong, and Dwaraka becomes an unlucky victim. With little leads as to who might have hurt her, would Porus be able to track down those guilty for her death, especially since the killer is cleaning up loose ends quickly?

VVS follows in the footsteps of previous Vishal films such as Irumbu Thirai and Chakra in terms of plot – an average man is tasked with determining the identify of a criminal who is as astute as he is. Instead of the previous films’ cybercrime and robbery, this one features a corrupt industrialist and gangsters. And, like in those films, the protagonist pursues them for personal reasons. It is not as effective as Irumbu Thirai, but it is far superior to Chakra. Saravanan’s use of escalating tension in all three tracks keeps us hooked. In the second half, the film becomes a cat-and-mouse game, with both the protagonist and adversary attempting to outwit each other.
VVS is absolutely entertaining as long as it stays true to the primary concept. There is suspense and excitement, and we are emotionally invested since Saravanan has convincingly set up the Porus family. This is why we have the impression that we are watching a tense action drama.

Only when he gets away from it do the fissures become obvious, as in the romance tune between Porus and Mythili. The way this music is constructed comes across as quite coarse for a film that demonstrates some intelligence. Yes, this is a commercial compromise, but why not provide the audience with a better romance? Consider the scene in which Porus goes to Mythili’s house after she calls to tell him that her father is attempting to broker an alliance. What we get is a ridiculous scene in which he enters into her house as the prospective groom and his family are considering marriage, gets into her bedroom, and pretends to kiss! The insults Yogi Babu’s character hurls at the heroine’s father are neither hilarious nor amusing.

The film is also overlong, with people uttering a lot of speech even when a few short sentences would have brought punch to the action. While one of Parisutham’s analogies about the evil being prey on the weak works well, another, depicting a rodent, feels excessive. The inconsistency in the dubbing is also noticeable. And, with the exception of a brawl inside a pub, the other action scenes are less dramatic and too generic.