What Is the Story About?
A young girl is found gruesomely murdered at a shooting spot on the outskirts of a town. Who is the girl and how a cop Vivek (SJ Suryah) is obsessed with finding the truth behind the murder and the killer is the series’ basic plot.
Performances?
SJ Suryah, making his digital debut, has found a perfect outing to work to his potential in Vadhandhi. He is the series’s lead and carries the show to the end with a remarkable and consistent intensity.
We have seen the once director, SJ Suryah, debut as an actor years ago. From his initial over-the-top days, he has come a long way, and there is no other proof than Vandhandhi to highlight the same. The role has his typical mannerism and body language, but they are dialled down superbly to enhance the character’s impact. The small conversations, the frustrations, an obsession, melancholy etc., are all conveyed with ease. And whenever the moment comes to play to the galleries, he doesn’t miss it either.
The casual flashback revelation regarding his past love shows the calm yet engaging nature of SJ Suryah’s performance. There are many more such moments, and the good thing is they are edited perfectly so that the act doesn’t get too repetitive or similar to Suryah’s work in the past. All in all, Vadhandhi is a memorable outing for ‘actor’ SJ Suryah, and he would only be hoping to take it to the next level in the future.
Analysis?
Andrew Louis creates Vadhandhi: The Fable Of Velonie. He writes and directs the series, which is a whodunit. A young, beautiful girl is killed, and the series’ primary line is finding the killer.
The comparison Suzhal instantly comes to mind as both are thrillers with a killer on the prowl, and finding the person is the narrative. The backing by Pushkar – Gayathri, the duo behind Suzhal, adds to the effect, but the similarities mostly end there. It is ‘mostly’ because the theme related to girls’/women’s freedom; the abuse is another similarity.
The good thing is, despite the similar genre and some topics; the story is entirely different here. The slow pace takes time to get used to, but considering the multiple characters and their setting, it doesn’t pose much of a problem. A rushed or fast-paced narrative would have made things go over the head. Once we are two episodes down, Vadhandhi is its own beast.
The drama, along with the investigation process, is where Vadhandhi scores. They are relatable and not entirely predictable. There are three aspects in which the narrative progresses, covering the police, media and the individual. Among them, the media angle is the most predictable, followed by parts of the personal life (the track with the wife, for example). They offer nothing new but serve the purpose of taking the narrative forward.
It is the investigation track and individual tracks that offer intrigue. The former seems vastly stretched when moving forward, but nothing is out of place. Things could have been cut short a bit, but when seen in hindsight (once things end), it all makes sense. However, a feeling of bloatedness persists, and that’s an issue with the series.
The major strength of Vadhandi is the gradual buildup of the suspects, red herrings and the middle portions related to them. The entire forest-based track involving the three sons and their mother is superbly inserted into the narrative. It is attention-grabbing and thrillingly done.
The writer’s perspective could have been shortened, considering how it ends, but it goes well with the overall theme of the public perception of women who live as they like. The writer and the media track mirroring each other in opposite directions could be bettered.
The Anglo-Indian backdrop, the dubbing, and the dialogue take time to set in. Simultaneously some character choices are questionable – these are the issues with Vadhandi. But they don’t harm the viewing in its entirety.
The real success of Vadhandhi is the connection with the lead character. Despite the convoluted drama, it keeps the narrative light in a way. After a point, one wishes all the answers are found, much like Vivek. It makes one go until the climax, irrespective of the issues. Once one reaches there, the end makes everything come together neatly and removes all the convolution.
Overall, Vadhandhi is a long and tiring watch, no doubt, but it is terrific in parts and reaches a satisfactory culmination after all the wait. Give it a try if you like thrillers but conjure up all the patience before you do so.
Other Artists?
The series is filled with actors in different capacities. Laila, Sanjana, Vivek Prasanna and Nassar are critical among them. Laila, on a comeback, has another interesting role. It feels a little off initially due to the Anglo-Indian backdrop and dubbing, but one gets used to it. She carries the role well. Sanjana gets a significant part that is charming, mysterious and dumb in parts simultaneously. Vivek Prasanna shines as a supporting part to Suryah. Others, too, appear in more minor roles, but they are noticed.
Music and Other Departments?
Simon K King’s background score is excellent. It heightens the suspense and keeps the mystery mood going around. Some bits do look inspired by different sources, but it’s not distracting to be an issue. The cinematography could have been better. There is a low-budget production vibe most of the time. It reflects in the dubbing and sound mixing too. The editing is okay. The narrative could have been a lot crispier. The writing is fine for an investigative drama cum thriller.
Highlights?
SJ Suryah
Story
Middle To End
Drawbacks?
Convoluted Drama
Length
A Couple Of Sub Plots
Predictable Angles For Drama
Did I Enjoy It?
Yes
Will You Recommend It?
Yes.But with Slight Reservations.
Vadhandhi Series Review by Binged Bureau
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