Visaranai Tamil Full HD Movie Free Download, Leaked By
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The police torture four employees to admit
that they have not committed robbery. Just when they feel soothing that an
honest policeman saves them can they have the worst yet to come.
Release date: 5
February 2016 (India)
Director: Vetrimaaran
Based on: Lock Up; by M. Chandrakumar
Music director: G. V. Prakash Kumar
Awards: National
Film Award for Best Feature Film in Tamil,
Visaaranai is a tough and uncompromising
account of misuse of influence. When the movie begins, we're looking at a
migrant from the park where his friends (their way to save money that they
might have to spend on a residence) in Andhra Pradesh during the wee hours of
the morning and running to open a provisional shop where he works. When he
starts the film, Pandi (an efficient Dinesh). It's not dawn yet, but Pandi is
late for the owner of the shop. A group of men come to the shop for the
address, but Pandi makes them Tamil Nadu cops and tries to get away from their
agenda.
Moments later, the group moves on, a man goes
and asks him whether his name is Pandi. As soon as he responds yes, Pandi is
picked up by his neck and forced into a waiting car, where his friends sit
hollowly and tell Pandi not to do something stupid because the men in the car
are cops. They are taken to the police station, where suddenly the cops begin
to beat them without any problems.
All that happens in the first 10 minutes of
the movie and we're not as clue about why they're treated like that as a group
of friends. Pandi thinks they are troubled because he shouted to the girl he is
in love with (Anandhi in cameo)—domestic help at a policeman's house—in public
during the previous night to help her get away from her employer. They are in
trouble. But then they stumble over another friend who says he was back in the
night, watching a film when the cops captured him, beating him mercilessly and
asked him to confess he would steal from a house.
Only then do you realize that you are in a
stupid situation. Torture and beatings continue, but a determined Pandi forces
it not to accept the charge because it did not commit any mistake. However,
cops under pressure as robbery occurred in a relative's house of a higher
official, want to "close the case" because it is easier and
convenient to close the case than actually to solve it by making Pandi and his
friends accept the crime. And the unfortunate group that gets a glimmer of hope
when Muthuvel, the Nadu Tamil cop Pandi found in his shop, manages to get rid
of their position (Kishore), a white collar criminal with political connections — but
only end up entrapped in a far more sinister situation from where there is no
escape.
Based on the Lock- Up novel from M.
Chandrakumar, Visaaranai developed into two clearly divided halves, and in the
second half there were antagonists replacements, as we had seen in Vetri
Maaran's Polladhavan and Aadukalam. Indeed, during the second half, we feel
that when the subplot involving KK develops, we have moved on to another film.
Our protagonist nearly wanes into the background and may not be completely over
to remind us now and then.
KK is probably the most poignant person in
the film full of tragic figures and Kishore plays this character so
understatedly that he cares of us even if we know he'll get our protagonists
deeper into trouble. He knows the game he plays and knows that both he and
Muthuvel are mere pawns in the game, which he also pointed out to the other.
When he realized he was condemned by his own 'friends,' he still found it a
shock for us, since this character seemed mainly to exist until then to show us
how the poor are treated together.
But the great second half, with which the
edge-of-the-seat thriller could easily have stopped, gives the film its moral
weight. Vetri Maaran forces us to analyze the characters' actions, to question
the injustice of everything and to be upset at how the system works. His
policemen are exactly the opposite of those who have been harded by the system
and have realized in Gautham Menon's films that the only way to survive is to
use the system. Like the bass cop that breaks into a mini-preferences about how
the value of human life can be achieved by killing a few lives.
We see these men performing suicide and
shootings cold-bloodedly, guilty with hardly any, and realizing instantly the
fate of a "decent" cop such as Muthuvel who wants to keep his
integrity in a world where that trait has no place. When the screen finally
turns black we feel like we were shot in a blank space, and it's the success of
Vetri Maaran.
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