An unmatchable sense of detailing. A heavily convoluted plot. A Some ruthless shots of blood splattering riots. Sudden and Uncanny twenty minute bouts of self indulgent romance.Ultra imaginative use of music. Razor sharp dialogues. Goose bumpy mythological references and One very strange piece of narration. The director in Kamal Haasan had truly arrived on the international arena with this, one of India's finest attempts at movie making. Though his other classic - Hey Ram! was the more critically acclaimed one, Virumaandi I feel is this director's most complete film. And not without reasons.

Virumandi, set in contemporary times but among the most rustic of backgrounds, is among the most superior movie making works originating from Tamil Cinema. Kamal Haasan starts the show with a very different and ultra allegoric credit chart. And Raaja starts haunting us right from this point where we see names rolling in the bg of a screen which is normally seen only when there is no telecast on TV. However, in this case the dormant screen itself is in black and grey. Hinting at unprecedented tragedy? I am sure he was, because a lot of it follows in the next one eighty minutes of a visually stunning motion picture.

Is the aim to drive home a point about capital punishment or is it just to use the burning issue of capital punishment to tell a tragic tale of truth and lie? We don't know ; but the way these tales unfold is where the catch lies. And had Peykaman not recited those lines of confession to the prisoners, we still wouldn't have known if Kottalathu Devar was speaking sense or if Virumaandi was really innocent. In fact, even now we don't know for sure. We only have strong clues. Such is the web of events that Kamal slowly builds around the audience.

Roshomon!! You may suddenly shout midway through this article. "Wait" is what I would say. Roshomon's four versions have Kurosawa chosing very different scenes for each narration. Kamal instead has the very same scene with the very same settings for both the narrations. The challenge of a lifetime that Kamal the writer poses to Kamal the film maker and the latter comes up triumphs like never before. Situations in Virumaandi are bound to be assistant director nightmares. To finally come up with such a polished product means the team is more than just professional. Kudos to the crew and the leader. Thalaivan Irukindraan. Very much in virumaandi.

Any article about virumaandi is incomplete without a mention of two very graphic blood red sequences stunningly shot and picturised by Haasan. The first one is Virumaandi's version of the attack on napolean's right hand. Chaos and tragedy, brothers in arms. The father is killed. The servant deserts, the mother tries to flee with infant in hand. There is a pull back to save. But the jerk throws the kid into a well and kills it. The mother goes mad. OMG. The second similar sequence is the riot inside the jail. It happens so fast. Too quick for the characters and the audience to digest. The effect is a small wrench near the gut.

To add to all this is romance - pure and sublime. Annalaksmi and Virumaandi, carry in their hearts the real soul of the film. They get married and make love. She is kidnapped and commits suicide later. He is blamed for the rape and the only proof of the marriage turns villain. The turn of events hits you hard on the chest. Virumaandi lost his love and will settle for nothing but brutal revenge.

This is the frequently told tale of the village ruffian but who tells it and how has made all the difference. Kamal Haasan adopts from Kubric (watch spartacus) and Kurosawa of course, but ultimately comes up with a very original and imaginative product. A mind boggling dose of brutally honest movie making iced over high range technical brilliance with a street smart narration to support. That is Virumaandi in a nut shell. Showcasing the endless talents of one of India's most Brilliant Directors.