Journalist-turned-director TJ Gnanavel proved his mettle with a hard-hitting second film, Jai Bhim, starring Suriya, Manikandan and Lijomol Jose. In Jai Bhim, despite having Suriya onboard, he played more of a supporting role to brilliant Manikandan and Lijomol Jose. His third film, Vettaiyan, features Rajinikanth, but the director promises to have a solid story that champions Thalaivar. Will Gnanavel be able to strike a balance? Let’s find out! Athiyan (Rajinikanth), Superintendent of Police, is all about successfully carrying out encounters against criminals. He believes that killing a person is justice for those who were wronged and is not willing to wait for the law to take its course. Sathyadev (Amitabh Bachchan), a retired judge, bats against extrajudicial killings. A police case and a major misjudgement by Athiyan bring him face-to-face with Sathyadev.

Journalist-turned-director T. J. Gnanavel doesn’t seem to care much for any sort of filmmaking subtleties. It’s as though he enjoys dialling up the volume knob to underline his already-dramatic writing, and doesn’t let you rest until you feel the full weight of a scene’s emotions. This was obvious in the way he didn’t stop by just showing you a police officer dragging a beaten-up Manikandan K. into the back of a police jeep in Jai Bhim (2021).

All Rajinikanth films have some default settings. It doesn’t matter who directs him, they have to play by these rules or around it. Experimentations by the director are allowed but within the frame of the boilerplate. The success then comes down to how the proverbial ‘director’s touch’ syncs with the template of a superstar film.

Vettaiyan brings together two cinematic legends—Rajinikanth as Athiyan, a top cop delivering swift justice, and Amitabh Bachchan as Justice Sathyadev Bramhadutt Pande, who questions the very foundation of that justice. Director TJ Gnanavel sets up a thought-provoking premise that wrestles with themes of morality, justice, and redemption, but unfortunately, the film struggles to deliver a compelling narrative.

There are always visual and grammatical cues to determine the origin of any kind of cinema. In India, it differs with language and region but there is one kind of image that is not exactly the pride of Tamil cinema. Simplistic and overused in the last thirty years, its progenitor is probably director Shankar though the image draws power from the long history of Tamil Nadu in post-independent India.

In among the best stretches of Vettaiyan, the friend of an accused—both hailing from the slums—is being interrogated for his assistance in facilitating the latter’s escape, and the police eagerly slap their biases on them. Director TJ Gnanavel quietly, and subtly captures the indignation of these two young men at various times, as they square up to the police forces. It takes a great line about friendship from Athiyan (Rajinikanth) to restore a bit of faith in the young man’s eyes.