Vada Chennai Review

Cast: Dhanush, Aishwarya Rajesh, Samuthirakani, Kishore, Pawan, Andrea Jermiah, Ameer

Music: Santhosh Narayanan

Direction: Vetri Maaran

Vada Chennai, Vetri Maaran’s dream project started its production stage in 2016 and it’s a trilogy about a group of people living in North Madras (Vada Chennai) spanning over 15 years. The first part of trilogy starts with a murder done by Guna (Samuthirakani), Senthil (Kishore), Velu (Pawan) and Pazhani. A narrative voice, by Vetri Maaran himself, narrates that this murder is going to affect everyone involved in it and persons who are indirectly involved, Anbu (Dhanush). The narrative is chapter wise, where each chapter establishes the relationship of Anbu to the murder.

Vetri Maaran is brilliant in not revealing who was murdered. He takes us through the lives of the people and how the murder was done, why was it done and mainly who was murdered. He is genius in casting. The casting choices from Pollathavan to Vada Chennai is spot on. Director Ameer, who plays as Rajan, is magnificiant in the role. It’s one of my favorite casting pick by Vetri Maaran. Another interesting casting choice is Andrea for the role Chandra. She nails her performance.

The other female character, Padma (Aishwarya Rajesh) is an interesting character. She is foul mouthed and she is amazing when she bullies Anbu and his friend. She apparently connects Anbu to Guna and eventually to the murder. Anbu is driven by love. He first involves in a fight because of his mother, then for Padma and then for Guna, who saved his life. Anbu goes to jail for him and the whole prison sequence is reminiscence of Kamal’s Mahanadhi. The latter’s focus is on prison politics while the former has gang rivalry.

This gang rivalry with raw action scenes, unmuted cuss words make this gangster saga a classic. One interesting plot of this film is how Vetri Maaran intervenes politics into the narrative. The political plot of laying road by clearing houses is so much effecting especially the scene where Anbu opposes the building new house plan. This scene worked better than a similar scene in Kaala (Where Kaala opposes the new Dharavi plan).

Verdict: A classic in gangster genre.

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