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#Varathu vantha nayagan crack

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And it ends with another son doing the same. One who lives by the sword has to die by the sword, right? The film opens with a bereaved son avenging his father’s death. But, he had written a violent film in a moral context and he could not have ended on a different note, just because Kodambakkam would have loved it. Ratnam could have taken a clichéd route and allowed Velu to ride off into the sunset. “I don’t know,” comes a deep answer from a misty-eyed Velu. In the end, when his grandson asks him whether he was a “good person or a bad person?”, it makes him reevaluate his entire life. Whether knowingly or unknowing, his impulsive actions led to the deaths of his loved ones (his biological father, his wife and finally his son). In spite of being surrounded with people that loved and worshiped him, he was always a loner. And he responds to it with shock and silence. Is it true?” Her words must have felt like a stab to his heart. When Velu’s wife gets killed by his rivals, his daughter Charumathi asks him, “People say mother died because of you.

#Varathu vantha nayagan crack

Velu’s armor suffers a small crack when his five-year-old daughter gives him a new question to grapple with. And he embraces a life of crime without qualms. Finally, he thought his foster father in Mumbai answered it when he implanted a debatable philosophy in him: “Nothing is wrong when it does good for other people.” Velu shapes his life based on that principle. His father, a slain union leader in Thoothukudi, Tamil Nadu, couldn’t solve his confusion. The question about what’s right and wrong haunted Velu since he was a boy. Instead, the simple question forces him to look inward as he had been looking for the answer outside. He could have easily answered the question with a ‘good man’ narrative for he had thousands of people to vouch for it. In the climax, when Velu’s grandson asks him, whether he is a “good person or a bad person?”, his entire life flashes before his eyes. But, even moments before his death, he was open to reassessing his life’s only guiding principle that made him the legend in the eyes of the poor. Yes, he did not have regrets about breaking the law as long as it made the lives of poor people a bit tolerable. But, unlike other heroes, Velu was not cocksure about the path he chose to serve the poor of Mumbai’s Dharavi. For decades, we have had hundreds of films passionately justifying a hero’s call to arms in the class struggle. And Velu Nayakan (Kamal) was not the first hero in Tamil cinema to do so. Nayagan is a beautiful portrait of an existentialist hero who picks up a sword (should I say a sledgehammer in this case) to uphold the rights of the oppressed.

And a close and repeated examination of this Ratnam work reveals that the endless effusive praise for this film is not unfounded. The image that I derived from reading umpteen number of articles about this film, both by national and international critics, almost gave it a mythical status. Most of the audience of my generation, who were yet to be born when this film was made, never got to experience what it was like to watch this masterpiece on a big screen. Nayagan to date remains a case study for filmmakers in terms of directing, screenwriting, acting, cinematography, editing, background score, production design and so on.