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Genres : Action
Actors : Samuthirakani And Shanmuga Pandian
Directors : P. G. Muthiah
Country : India
Duration : 2h Mins
Quality : CAM
Released : 2018
IMDB : 6.6/10
Madura Veeran is a 2018 Indian Tamil action-drama film written and directed by cinematographer P. G. Muthiah. Viji Subramaniam produced the film alongside with the director, under the banners of V Studios and PG Media Works. Wikipedia Initial release: 2 February 2018 Director: P. G. Muthiah Music composed by: Santhosh Dhayanidhi Screenplay: P. G. Muthiah Cinematography: P. G. Muthiah
MADURA VEERAN SYNOPSIS: Durai returns to his village from Malaysia after 20 years in the pretext of getting married. However, his prime aim is to conduct jallikattu along with the panchayats of five neighbouring villages and fulfill his father’s dream. Will he succeed?
MADURA VEERAN REVIEW: First things first, this is probably the only jallikattu-based film in which the hero doesn’t play the sport. Yes, neither does he challenge the antagonists to a match nor does he jump into the arena to tame the bull! Durai (Shanmuga Pandian) is a 20-something youngster, who, along with his mother, returns to his village after two decades. He tells his mother that he wants to marry a girl from the soil he was born in. But he has different plans — conduct jallikattu in unison with the neighbouring villages, which has been his father Rathnavelu’s (Samuthirakani) dream, something for which the latter even sacrificed his life. But Guru Murthi (Vela Ramamoorthy) and Malai Samy (Mime Gopi) have a score to settle with Durai, and will go to any length to ensure he doesn’t conduct the jallikattu.
This is Captain Vijayyakanth’s son Shanmuga Pandian’s second film, and he easily slips into the role of a youngster wanting to re-establish ties with his roots. His tall frame and physique work in his favour, especially in the action scenes, but his dialogue delivery lacks punch. Despite his best efforts, he looks a tad uncomfortable in front of the camera. Even if it’s just reeling off the names and varieties of bulls, he seems to be working too hard to get it right! Debutante Meenakshi, as his love interest, is an interesting find — she has an impish charm, and complements Shanmuga Pandian in the romantic sequences. She and Bala Saravanan (as Durai’s friend, Kodhandam) have us chucking through the film. Vela Ramamoorthy, Mime Gopi, PL Thenappan (as another village chief, Perumal) and Marimuthu (as Durai’s uncle, Pattaiyaar) hold their own fort and look convincing playing their part.
However, who truly scores in the film is Samuthirakani; as the persistent do-gooder, he fights for the right — the right to peacefully conduct jallikattu, and also for the right, against the wrong. Despite appearing in the film in just a few scenes, his character has a strong presence throughout the script. If there’s a second hero in the film, it’s Santhosh Dhayanidhi’s refreshing folk tunes; his bit songs add to the scenes.
After cranking the camera for films like Poo, Kandein Kadhalai and Saguni, PG Muthiah has also wielded the megaphone for this rural entertainer, and he has done a fairly good job for a debutant director. In just over two hours (the editing is by KL Praveen), he has managed to narrate the story without extra frills. Yes, he takes some time to get to the premise, and dabbles with two-three other ‘issues’ (the disaster of using genetically modified seeds and chemically treated pesticides, and casteism), along with jallikattu, and meanders a little in the second half, incorporating footages from jallikattu protests that happened in the state (actor Vijay and Captain Vijayakanth’s speeches make an appearance, too) but succeeds in evoking the emotion that forms the basis of the film — Tamizh pride.
By now, everyone knows what vaadi vaasal is, what thundu sutharadhu means and how the bulls are let loose in the jallikattu arena. Muthiah plays to the gallery, subtly showing the preparation that goes behind conducting the ‘Veera Vilayattu’, preparing the bull and the respect these majestic animals command. The idea, all along, is to showcase the unity of Tamils in the face of adversity and their pride in being Tamizhs, and in this, Muthiah succeeds, somewhat.