At the point when we first observe Arivu (Sivakarthikeyan), the hero of Velaikkaran, he is begging Kasi (Prakash Raj), the hoodlum in his ghetto to let him start a FM for the territory. Arivu’s goal, we learn later, is to utilize this FM to push his kin towards upliftment, by making them mindful of the amount Kasi has been misusing their defenselessness. Be that as it may, conditions power Arivu to quit broadcasting and join a FMCG organization as a promoting leader, where he admires Adhi (Fahadh Faasil), a driven director. Indeed, even as he proceeds with his battle against Kasi, Arivu understands that what he is accomplishing grinding away is the same as what the hoodlum has been doing — and chooses to change the framework.
Directly from the initial scenes, Mohan Raja mentions to us what he is after with Velaikkaran isn’t recounting to a story yet a message. Like Samuthirakani, maybe the most brazen of the ‘message film’ experts, Raja continues pounding us with message after message (private enterprise is friend, change needs to start inside us, etc) that after a point the film starts to feel like a talk that gives no indications of finishing. “Ulagin thalaisirandha sol seyal” — this is something that Raja’s saint continues rehashing, however tragically, the chief overlooks that great filmmaking likewise has a comparable rule — ‘Show, don’t tell’.
Generally, the movie neglects to walk the scarce difference between recounting to the tale of an optimistic youth and his go head to head against a power of aspiration, in contrast to the chief’s past exertion, the awesome Thani Oruvan, and frequently takes after a vacant way of talking. In Thani Oruvan, the message and the specifying was in administration of the story, yet here, Raja continues stacking us with data from his exploration, and makes the story auxiliary. In an early scene, he gives us how retail chains play on customer brain science to make us purchase more, and it carries out its responsibility. In any case, we keep on getting variations of this equivalent data that include no further worth. Also, Raja’s harangue against free enterprise and how it misuses shoppers just brings to mind the comparable talks in Bhooloham, which featured his sibling Jayam Ravi.
In the event that it works partially, it is a direct result of the sincerity in the presentation of Sivakarthikeyan, who, for a change, plays a man with a reason. It’s unquestionably another endeavor for this entertainer, who is regularly projected in functions of a wastrel who gets the young lady he cherishes/stalks, and here, he convincingly catches the vision of Arivu. Also, he is capably supplemented by the downplayed Fahadh Faasil (making his Tamil introduction), who is noteworthy in a job whose anticipation the film uncovers excessively early, in this manner diminishing its effect. Nayanthara’s is to a great extent a supporting job, yet the entertainer compensates for it with her screen nearness. The host of supporting entertainers, from Prakash Raj and Sneha to Rohini and Charle, are very much cast, however you can’t resist thinking about whether they ought to have been used better.
There are additionally a couple of scenes that stick out — a hoodlum war shot as a live analysis, the cross-cutting between discussions of criminals and showcasing faculty to show us their methodologies aren’t any extraordinary, a mother notion scene that likewise gives the saint a flash of motivation and a legend second including individuals turning on lights at 12 PM. Tragically, the overdrawn portrayal and the sermonizing tone hold pulling down the film.
