SoumikBanerjee1996

Admirers of Vetrimaaran's work are likely to appreciate the signature elements he brings to his films like his anti-establishment themes, critiques of corruption, and realistic portrayals of police, gangs, and their complex dynamics, which I have always liked.

Vada Chennai follows this trend, showcasing a solid mix of Vetrimaaran's raw creativity and a touch of commercial appeal. However, it does have its fair share of shortcomings, particularly in the romantic subplot between Dhanush and Aishwarya Rajesh, and a screenplay that feels a bit cluttered with too many supporting characters.

Now having a diverse, extensive cast isn't a drawback, especially if there is enough time and space to give each character the attention they deserve in the story. Unfortunately, that wasn't the case in here, and more I try to find what exactly went wrong I find myself pointing fingers at the underdeveloped romance between 'Anbu' and 'Padma.'

I really wish the film had spent more time exploring the internal conflicts among the gangsters instead of devoting almost half an hour to a futile relationship that didn't significantly impact the overarching narrative.

There are four love stories featuring individuals of different ages, all connected by a common thread and leading to comparably tragic endings, except for one. I really appreciate how director Maha Venkatesh skilfully intertwined these four romantic tales, culminating in a single, impactful conclusion.

The presentation largely leans toward simplicity, taking a realistic angle, though it occasionally fumbles in terms of dialogue and delivery. This is mostly due to some lacklustre performances, particularly from Radha and Bhargavi's father, who stand out as the definitive weaker links.

What truly resonated with me was the underlying message promoting the right to love freely, without fear, without reservation, and regardless of age and religious or societal identity.

The writing boldly takes a stance against the outdated, regressive norms imposed by rigid religions and people who are still stuck in the past and are reluctant to move on and enforce others to follow the same.

I tend to appreciate filmmakers who can seamlessly weave the beauty and the geace of outdoor locations into their stories, all without relying on complex cinematographic maneuvers or some artificially generated visual effects.

They simply like to embrace and soak in the beauty of "Mother Nature" and her incessantly tranquil presence. Rima Das is one amongst those rare bunch, and I admire her for that.

Now, about the film, it was refreshingly simple and heartfelt. I especially liked how compassionately it advocates for dreamers and their dreams, even in the midst of dire circumstances.

The tale graciously illustrates that our dreams are not confined by societal or financial constraints; all they aspire is relentless passion, a creative mind, and love and encouragement of our family and friends who would be willing to go the 'extra mile' to help us achieve our goals.