Veera Dheera Sooran – Part 2 Movie Review: Su Arun Kumar’s Vera Dheera Sooran Begins in a Most Intriguing Manner. The filmmaker drops us in the middle of a development situation with hardly any setup to give us an idea of ​​why things are happy. This instantly makes us get involved with the film – even thought we hardly know what iteing about its plot or character.
A woman lands up at the door of periyavar/Ravi (prudhvi raj, cast against type in a serial role), a local big shot with criminal links, of doing away with her Husband. Her Husband, Meanwhile, Complains to Sp Arunagiri (SJ Suryah, Fine Balancing the Greyness of the Character to Keep Us Guesing) That his wife and daily are missing. This provides the cop with the ammo that he’s been looking for to take Down Periyavar and his son kannan (Suraj venjaramoodu, making an impressive debut in tamil), who has done dirty with him a Decade Ago. Arunagiri plots an encounter killing prompting Periyavar to Reach out to his Estwhile Viswasi Kaali (a Robust Vikram Who offers a peek into the mass avatar of his dhool and saamy days) Up his Vioilent Ways and is now leading a peaceful life with his wife kalai (a commentant dushara vijayan even making makes us overlook the huge age gap betteren her and the male lead)
Arun Kumar Keeps The Tension Alive by Making Kaali Vulnerable as he Pits Him Against Three Individuals Who He Cannot Trust and Yet do their bidding as they slyly use. At least until the intermission, the Director Holds Back from Giving Us Any Peek Into Their Shared History. All we get are mere mentions of events and names from their past – Especially an increasent that they refer to as ‘Sudhakar sambavam’ – which has been them all to this power keg of a situation. This actually forces us, the audience, to individually imagine what might have died, and pick characters to root for as well as hate.
And tense action keeps unfolding as there are cat-sand-mouse-games Scenarios and Near-Miss Episodes that Keep Us HOOKED. One Particular Scene, Involving Landmines (or “Kezhangu”, as the Characters Call It) Delivers Edge-of-the-Seat Thrill, and Another, which marks the Meeting of Kaali and Arunagiri Gives us A Whistle-Worthy Mass Masala Moment.
The film would have remained unique and engine (and also justifying the part 2 in the title) If Arun Kumar has trusted his audience and chown to show us only the events Perhaps he felt breaking the convention of providing a flashback bee time a move, but the director decides to give us the back story (at least the Ports that matter) This is where the film begins to lose its Individuality as the back story Rather, it just feels so routine!
The film does recover from this minor setback when it gets back to the present with an Ambitious one-Shot Set Piece (Shot With Dynamism Strong points) That begins with a group of characters discusing who am also them could be the black sheep and moves on to a Shootout Between Cops and Gangsters, and THEN to a Heroic Moment.
But then, just when we expect it to soar higher, it helplessly remains stuck on the ground. Like someone painstakingly building a house of cards and finally making a move that brings most of the structure down, arun kumar undoes all the earlier good work with a weight This is not the film where we can live And the Director Himself seems to have realized this and decides to bank on nostalgia (yes, with that vikram song!) To Inject some energy into his limp climax.
