The big joys of Vettaiyan are contained in its exploration of its serious story, spotlighting a protagonist who’s full of good intent and yet, so trigger-happy. He’s a man eager to kill bad men, but has the forgiveness needed to turn a thief into an adorable man. And this, is perhaps the most complex protagonist Rajinikanth has taken on in a while.
The film wants you to celebrate his actions, his kills, as we’ve always done. But here’s the twist: if the hero can change, can we? Can you? Or will you be forever stuck in that ‘Hunter vantaar choodu da’ mindset? The choices that the film makes are worth critiquing, I think, because the power of a scene, the power of a track, often survives the film’s own, eventual judgment of it.
For much of the film, it’s a whodunit and a drama, not merely a star vehicle—and what a relief, that is. Anirudh’s techno score is such a vibe, powering all the montages. As for the dialogue? Razor-sharp, like that line that speaks of the distinction between ‘avasaram’ and ‘viraivu’.
Yes, the story seems to go astray, with the hero-villain trading of punches, rather overshadowing Athiyan’s internal struggles. There’s a loss that feels brushed aside, and violence towards a woman that feels repetitive, and exploitative. Perhaps one other woman could have been more nuanced. The weight of a life taken should perhaps register more, innocent or not. But BUT…
There’s so much to be happy about. A film that fights for the downtrodden, shatters stereotypes and questions heroism. A secondary character getting as much screen time as the superstar himself. Even the Rajinisms—the cool glasses, the punch dialogue…—are integrated into the story. Vettaiyan reminds us that with Rajinikanth at the center, we can still have authentic stories with real, flawed characters, and which speak up against power.