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Your Honest Opinion of #VidaaMuyarchi..❓

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Vijay எல்லாம் ஒரு ஆளே கிடையாது 😂😂 அண்ணாவை open aa அடிக்கிறங்க 😂😂 #VidaaMuyarchi #VidaamuyarchiFDFS

It's a joy when films break out of what they are supposed to be as star vehicles. Vidamuyarchi begins with an extremely sensitive topic, and treats it with such gentleness and without judgment. Arjun (Ajith) is, at heart, a vulnerable softie, incapable of prejudice and hatred. He can't trust the cops, and yet, he cannot stand by to see them die. His enemies subject him to such humiliation and cruelty, and yet, he gets no pleasure out of hurting them. His wife, well—she wants to move on from him, and yet, he seeks no retribution. Arjun isn't a hero; he's a vulnerable man forced into a fight he does not enjoy. We see this quality many times in the film. In the petrol bunk scene, we see clear evidence that Arjun is an emotionally mature man who isn't looking to escalate things. "They're young and are looking for trouble," he says. Ordinarily, in our cinema, we are trained to expect him to turn into a vengeful demon figure, who makes enemies run for life. Vidamuyarchi, despite having the structure for it, refuses to turn Arjun into a Vedalam-like fearsome presence. It's such a brave choice. Towards the end, when someone asks, "Nee enna hero-va?", Ajith responds with an outraged no, almost begging them to understand. It feels almost like a plea to the world. It isn't coincidental that he kills nobody. This isn't that kind of film. His superpower isn't his ability to kill a dozen people at once; what sets Arjun apart is his ability to trust and hold faith in people. Regina Cassandra's character (she's excellent, by the way) doesn't get this. "Ippo kooda avala nambaraan ivan!" Heroism isn't violence in this film; it's the ability to trust, to persist in faith, even when an evil world (personified literally as a woman in the film) tempts and gives you enough reason to turn against your own. I thoroughly enjoyed the setup of the film (a lovely first half, if you ignore the unconvincing romantic beginnings)—the silences, the wonderful ways in which the Azerbaijan land isn't just a backdrop, but an inherent part of the film's storytelling. This isn't geography used for beauty alone; it's geography that dictates events (I liked how the foreign actors are used as well). In an Ajith film, you expect empty roads and vehicles in storytelling, but here, it all happens organically, even as everyone and everything toys with Arjun's mind. Yes, the great setup probably doesn't result in the kind of deep joys you expect. Once the film turns into a desperate search for a person, you see all the standard action blocks (I thought the fight with Arav-and-gang inside a car was done particularly well). But it remains a beautifully crafted film, with many standout shots (especially from the top angle). Perhaps the origins story for two characters needed to be more powerful; perhaps the film feels more enjoyable when you don't yet know the answers than when you do. But Vidamuyarchi has a big, honest heart, much like its protagonist. It could have been shaped differently, into something grander, something more easily gratifying, in keeping with our commercial cinema rules, but I like that it doesn't go that route. Because it doesn't, we get the rare pleasure of seeing a truly unique protagonist—not a hero, but a man who refuses to give up on even those even when they have given up on themselves (one character even confesses to hating himself). In this film, Vidamuyarchi isn't about perseverance in work, as it's generally used. Here, it's about the spirit, about the doggedness required to keep human bonds alive. It's a film that may not have grand heroism as we have come to expect; but it has more than one grand idea for sure.

30 பேர் செத்திருக்காங்க, அந்த குற்றஉணர்வே இல்ல.