VIDAAMUYARCHI MOVIE REVIEW
Cast: Ajith Kumar, Trisha Krishnan, Arjun Sarja, Regina Cassandra, Arav, Ramya Subramanian, Nikhil Nair
Director: Magizh Thirumeni
Rating: 3.75/5
An Ajith Kumar film that doesn’t play to the fans – Vidaamuyarchi is decidedly director Magizh Thirumeni’s vision through and through. Set against the stark backdrop of Azerbaijan, this slow-burn thriller distinguishes itself with stylized cinematography and a distinctly western feel.
The first half builds tension effectively, opening with flashbacks that establish the relationship between Arjun (Ajith Kumar) and Kayal (Trisha). While these retrospective glimpses could have been more concise, they provide necessary context about their 12-year marriage that’s now falling apart. After a miscarriage and growing emotional distance, Kayal reveals her affair with another man and initiates divorce proceedings. Despite this, Arjun, ever the soft-spoken gentleman, remains surprisingly understanding.
When Kayal decides to move to her parents’ home in Tbilisi, Arjun insists on driving her there – a 10-hour journey through the desert landscape. During their road trip, a near-collision with a Hummer driven by the aggressive Michael (Arav) sets things in motion. At a gas station stop, while Arjun faces confrontation, Kayal meets another Tamil couple – Rakshith (Arjun Sarja) and Deepika (Regina Cassandra), who run a trucking company. When their car breaks down, Arjun reluctantly allows Kayal to catch a ride with the couple to a nearby cafe. Upon reaching the cafe, he discovers she’s been kidnapped.
The film’s visual palette deserves special mention – cinematographer Om Prakash crafts frames that capture the vastness and desolation of Azerbaijan’s desert. The stop at a cafe in this remote region effectively channel a western movie aesthetic, creating an atmosphere seldom seen in Tamil cinema.
What’s particularly noteworthy is Ajith’s portrayal of vulnerability. Unlike his typical larger-than-life roles, here he plays a character who gets beaten down repeatedly. However, Arjun’s character development feels somewhat uneven – while his initial panic and desperation feel authentic, his transformation into a more forceful personality in the latter half seems abrupt. Be it with the patrons at the Jaba cafe, or with the cops, or when he confronts Rakshith about his missing wife, he’s just frantic and on a single tone. Magizh could have made his character a bit more discrete, and perhaps even brought about a ruthlessness about him a bit earlier.
The second half, while predictable in parts, maintains tension even if the pacing feels rushed. The villains’ repeated manipulations and the somewhat hurried climax might test viewer patience, but the film’s commitment to staying grounded deserves appreciation. Also, the reasons for Kayal divorcing Arjun feels very flimsy.
Anirudh’s background score, usually a highlight, remains understated here, and the songs don’t leave a lasting impression.
Despite its flaws, Vidaamuyarchi marks a significant departure from the typical mass-hero template that dominates South Indian cinema. While this might disappoint fans expecting high-octane action sequences and punch dialogues, it showcases Ajith’s willingness to experiment with more nuanced roles.