He chances to save Bommi, the princess of Thottiyam from being drowned in the Cauvery.
Veeran grows up to be a brave and noble youth. A cobbler and his wife discover the baby in the forest, and bring him up as their son. Acting as per the dictates of the astrologer, baby is abandoned in the forest. The idea, all along, is to showcase the unity of Tamils in the face of adversity and their pride in being Tamizhs, and in this, Muthiah succeeds, somewhat.Veeran was born to the chieftain of Varanavasi, but the baby was born with an unlucky mark destined to bring doom to the state. Muthiah plays to the gallery, subtly showing the preparation that goes behind conducting the ‘Veera Vilayattu’, preparing the bull and the respect these majestic animals command. Yes, he takes some time to get to the premise, and dabbles with two-three other ‘issues’ (the disaster of using genetically modified seeds and chemically treated pesticides, and casteism), along with jallikattu, and meanders a little in the second half, incorporating footages from jallikattu protests that happened in the state (actor Vijay and Captain Vijayakanth’s speeches make an appearance, too) but succeeds in evoking the emotion that forms the basis of the film - Tamizh pride.īy now, everyone knows what vaadi vaasal is, what thundu sutharadhu means and how the bulls are let loose in the jallikattu arena. In just over two hours (the editing is by KL Praveen), he has managed to narrate the story without extra frills. If there’s a second hero in the film, it’s Santhosh Dhayanidhi’s refreshing folk tunes his bit songs add to the scenes.Īfter cranking the camera for films like Poo, Kandein Kadhalai and Saguni, PG Muthiah has also wielded the megaphone for this rural entertainer, and he has done a fairly good job for a debutant director. Despite appearing in the film in just a few scenes, his character has a strong presence throughout the script. However, who truly scores in the film is Samuthirakani as the persistent do-gooder, he fights for the right - the right to peacefully conduct jallikattu, and also for the right, against the wrong. Vela Ramamoorthy, Mime Gopi, PL Thenappan (as another village chief, Perumal) and Marimuthu (as Durai’s uncle, Pattaiyaar) hold their own fort and look convincing playing their part. She and Bala Saravanan (as Durai’s friend, Kodhandam) have us chucking through the film. Even if it’s just reeling off the names and varieties of bulls, he seems to be working too hard to get it right! Debutante Meenakshi, as his love interest, is an interesting find - she has an impish charm, and complements Shanmuga Pandian in the romantic sequences. Despite his best efforts, he looks a tad uncomfortable in front of the camera. His tall frame and physique work in his favour, especially in the action scenes, but his dialogue delivery lacks punch. This is Captain Vijayyakanth’s son Shanmuga Pandian’s second film, and he easily slips into the role of a youngster wanting to re-establish ties with his roots. But Guru Murthi (Vela Ramamoorthy) and Malai Samy (Mime Gopi) have a score to settle with Durai, and will go to any length to ensure he doesn’t conduct the jallikattu. But he has different plans - conduct jallikattu in unison with the neighbouring villages, which has been his father Rathnavelu’s (Samuthirakani) dream, something for which the latter even sacrificed his life. He tells his mother that he wants to marry a girl from the soil he was born in. Yes, neither does he challenge the antagonists to a match nor does he jump into the arena to tame the bull! Durai (Shanmuga Pandian) is a 20-something youngster, who, along with his mother, returns to his village after two decades. Madura Veeran Review: First things first, this is probably the only jallikattu-based film in which the hero doesn’t play the sport.
However, his prime aim is to conduct jallikattu along with the panchayats of five neighbouring villages and fulfill his father’s dream. Madura Veeran Synopsis: Durai returns to his village from Malaysia after 20 years in the pretext of getting married.
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