vetrimaran national award

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Vetrimaaran

	(India, Tamil Nadu, Cuddalore district)

Vetrimaaran
Check all the awards nominated and won by Vetrimaaran.
	Aadukalam
2012 »

	Aadukalam
	Aadukalam
2011 »

	Aadukalam
	Aadukalam

2008 »

	Polladhavan
2007 »

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Every Vetrimaaran Movie Ranked and Where to Watch Them

Published on.

Shaurya Singh Thapa

Official JustWatch writer

Known for his gritty crime dramas, underdog heroes, and numerous collaborations with actor Dhanush , Vetrimaaran has established himself as one of Tamil film industry’s leading directors.

If you wish to know more about the Asuran and Vidhuthalai director’s filmography, we have got you covered with a complete streaming guide that leads you to all of Vetrimaaran’s movies and information you need on where to stream them online.

Which Vetrimaaran movies should I watch first? 

The best way to watch Vetrimaaran’s movies is in the same order as their release date, as this sequence would show how the director has only improved in his craft with every passing movie. Vetrimaaran made his directorial debut in 2007 with the action thriller Polladhavan . Dhanush played the lead character, a man whose fate changes after he buys a bike and later gets it stolen. Opening to rave reviews for Dhanush’s acting and Vetrimaaran’s directing, the movie spawned numerous remakes in other languages and popularised the Bajaj Pulsar (the bike featured in the movie) among Tamil youths.

The director and actor joined forces again for the drama Aadukalam . The 2011 hit found Dhanush’s protagonist embroiled in an unattainable romance and a rooster-fighting business. The movie earned Vetrimaaran a National Award for Best Director and Best Screenplay.

While Vetrimaaran’s first two movies addressed social themes like an economic class divide, his political themes got more evident in his third film: a police thriller titled Visaranai (also released as Interrogation). The gruelling social drama revolves around the fates of two men who are forced to confess to a crime after they are locked up by the cops. The film won a National Award for Best Tamil Film and also opened much debate and discourse over the ethics of the police force in Tamil Nadu.

Visaranai’s success opened the avenues for more ambitious projects like the period gangster epic Vada Chennai , yet again starring regular collaborator Dhanush. The movie charts an underdog’s journey between rival criminal factions in a fishing community in ‘70s-era South Chennai. Vada Chennai ended on a nail biting cliffhanger, teasing the possibility of a sequel that fans still await.

With Dhanush already starring in several anti-caste dramas, Vetrimaaran cast him again in Asuran. Addressing the oppression faced by marginalised castes, Asuran starred Dhanush as a hot-headed lower-caste youth who kills an oppressive upper-caste landlord. The ensuing chaos made for a violent, powerful, and relevant watch. As is the case with many Vetrimaaran films, Asuran also earned the National Award for Best Tamil Film. 

Why is Vidhuthalai Part 1 Vetrimaaran’s best movie to watch? 

Intending to direct a two-part saga next, Vetrimaaran directed Vidhuthalai Part 1 . Set in the 1980s and inspired by real-life politics of the era, Viduthalai explores the conflict between the police and a separatist group. However, neither side is good or bad as Vetrimaaran’s story explores the morally grey areas of the policemen and their atrocities as well. Boasting impressive performances by Vijay Sethupathi and Soori, Vidhuthalai is a gripping political thriller.

Where can I watch the best Vetrimaaran movies online? 

Below you can find the latest streaming information for every Vetrimaaran movie. This includes every offer for viewers in India today.

Viduthalai: Part I

Kumaresan, a police constable, gets recruited for an operation implanted to capture Perumal Vaathiyar, who leads a separatist group dedicated to fighting against the authorities for committing atrocities against innocent village women in the name of police interrogations.

Vada Chennai

A young carrom player in North Chennai becomes a reluctant participant in a war between two feuding gangsters.

The teenage son of a farmer from an underprivileged caste kills a rich, upper caste landlord. How the pacifist farmer saves his hot-blooded son is the rest of the story.

Pandi and his friends, immigrant workers in Andhra Pradesh, are picked up by cops for a crime they never committed. And thus begins their nightmare, where they become pawns in a vicious game where the voiceless are strangled by those with power.

Pettaikaaran is famous in his town for an impeccable track record of successes in rooster fights. When one of his aides, Karuppu, goes against his word in a fight, it leads to an enmity between them.

Polladhavan

Prabhu is dejected when he learns that his bike has been stolen. He decides to find the people who stole the bike, but lands in trouble when he realises that his bike has been used to transport drugs.

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Vetrimaaran

Vetrimaaran stands as a towering figure in the of Indian cinema, celebrated for his multifaceted contributions as a film director, producer, and screenwriter, primarily within the vibrant tapestry of Tamil cinema. As of 2021, his illustrious career has been adorned with accolades, boasting five National Film Awards, eight Ananda Vikatan Cinema Awards, and two Filmfare South Awards.

Born in 1975 in the culturally rich city of Cuddalore, Vetrimaaran inherited a legacy of academia. His father, Dr. V. Chitravel, a distinguished veterinary scientist, and his mother, Megala Chitravel, a respected novelist, provided the backdrop for his early years. The seeds of his cinematic journey were sown during his tenure at Loyola College, where a course on television presentation ignited his passion for the art of filmmaking.

The pivotal juncture in Vetrimaaran’s career came through his association with veteran filmmaker Balu Mahendra. Serving as one of Mahendra’s lead assistants, Vetrimaaran gleaned invaluable insights into the nuances of filmmaking. Faced with the perennial dilemma of choosing between academia and the allure of cinema, Vetrimaaran chose the latter, forsaking his academic pursuits at Loyola to chart a course into the world of films.

His directorial debut, “Polladhavan” in 2007, was a cinematic endeavor inspired by the quest for a lost bike. The film garnered acclaim, with Vetrimaaran’s directorial style drawing favorable comparisons to Balu Mahendra’s illustrious approach. The subsequent venture, “Aadukalam” (2011), delved into the intense world of cockfighting in Madurai and earned Vetrimaaran six National Film Awards, solidifying his status as a formidable directorial force.

In an expansion of his cinematic footprint, Vetrimaaran founded the Grass Root Film Company, a production house that would serve as a vehicle for his creative endeavors. “Visaranai” (2015), a film exploring the brutal hardships faced by Tamil laborers at the hands of the police, emerged as India’s official entry to the Academy Awards, shedding light on societal injustices.

The ensuing years witnessed Vetrimaaran’s continued ascendancy. Collaborations with actor Dhanush in films such as “Vada Chennai” (2018) and “Asuran” (2019) not only garnered critical acclaim but also tasted success at the box office. “Vada Chennai,” in particular, distinguished itself by portraying the narrative of a skilled carrom player ensnared in a gripping gang war. In his role as a producer, Vetrimaaran championed several noteworthy films, including “Poriyaalan” (2014) and the critically acclaimed “Kaaka Muttai” (2015). Both his directorial ventures and productions consistently received accolades, establishing him as a revered figure within the film industry.

Vetrimaaran’s creative prowess extended to the anthology “Paava Kadhaigal” (2020), where his segment, “Oor Iravu,” delved into the sensitive issue of honor killings. The segment, marked by its powerful storytelling and deft direction, earned acclaim from audiences and critics alike.

Throughout his illustrious career, Vetrimaaran’s films have been a canvas for exploring diverse themes, seamlessly blending realism with commercial elements. His ability to capture the essence of societal issues and present them cinematically has bestowed upon him the status of one of the preeminent directors in the panorama of Indian cinema.

More Details

Name	Vetrimaaran
Also Known as	Vetrimaaran
Date of Birth	04/09/1975
Current Residence	Chennai
Religion	Hindhu
Nationality	Indian
Hobbies	reading, writing
Father	Dr. V. Chitravel
Mother	Megala Chitravel
Spouse	Aarthi
Children	Poonthendral, Kathiravan
Educational Qualification	Graduation
College (s)	Loyola College

Debut Movies
Language	Movie Name
Tamil	Polladhavan

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Awards List
Year	Award	Category	Movie Name
2007	Vijay Award for Best Director		Polladhavan
2011	National Film Award for Best Director		Aadukalam
2011	National Film Award for Best Screenplay		Aadukalam
2011	Filmfare Award for Best Tamil Director		Aadukalam
2019	National Film Award for Best Feature Film in Tamil		Asuran
2016	National Film Award for Best Feature Film in Tamil		Visaranai
2015	National Film Award for Best Children's Film		Kaaka Muttai

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Vetrimaaran

• Born September 4 , 1975 · Cuddalore, Tamilnadu, India
• Vetrimaaran is an Indian film director, screenwriter and film producer, who works in the Tamil film industry. Vetrimaaran made his directorial debut with the Polladhavan. His second feature film Aadukalam won six National Film Awards. He produces films under his production company, Grass Root Film Company. His movie Visaranai (2016) was selected as India's official entry to the Academy Awards.His film Asuran (2019) was named as the National Film Award for Best Feature Film in Tamil. - IMDb Mini Biography By: Raju
• Children Poonthendral
• Parents V Chitravel Megala Chitravel

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Every Vetrimaaran Film Ranked and Where to Stream Them

Tamil filmmakerVetrimaaran belongs to a breed of directors whose taut scripts, apt casting, and realistic storyline treatment have fundamentally changed the very nature of mainstream filmmaking. Vetrimaaran films are made for a multicultural audience and backed by the strength of their storytelling and sculpted dialogue, which has reinvigorated the art of popular cinema with a breath of fresh air.

Each film is imbued with a powerful, coherent aesthetic that guides viewers through a dark matrix. At its best, it augments a captivating narrative and sinks viewers into a world of rural and urban Tamil Nadu social realism. The reality that’s depicted is populated with more fallible and life-like characters. The cinema of the carnivalesque, with its larger-than-life characters, melodramatic orientation, and highly romanticized canvas, is something that does not whet his appetite for creativity.

With a filmography of six features and one short film as a director, he has earned his reputation as one of the most accessible filmmakers of the last decade. His style flourishes in a deliberate, soothing rhythm, creating an atmosphere rich with realistic undertones. While some viewers may find his films brutally intense and emotionally jarring, they are also unexpectedly heartwarming, offering moments of surprising tenderness amidst their ruthless depictions.

6. Polladhavan (2007)

Vetrimaaran’s debut feature film opens with a gruesome and brutal fighting sequence. Then, using flashback, the filmmaker takes us into the dynamic world of contemporary Chennai, where an educated young man, Prabhu ( Dhanush ), fights injustice and, in the process, is forced to unleash the animal within him.

Also, Read: Every Sriram Raghavan Film Ranked

The protagonist is an unemployed youth who confronts his father (Murali), and an argument regarding the responsibilities of parents towards their offspring ensues. As a result of this conflict, Prabhu gets a hefty amount from his father, and he uses the money to purchase a Bajaj Pulsar bike. This appears to be a wise investment because owning the vehicle enables him to get a job and earn respect in society. But the situation takes a drastic turn when a gang of anti-socials steals his bike. After that, the film presents the viewers with the transformation of resilience into power and its hold over the life of an individual’s struggle to maintain his position in the harsh reality of everyday life.

The plot of the film has similarities with Wang Xiaoshuai’s Bejing Bicycle (2001). But the well-worked-out mise-en-scenes of “Polladhavan” make it an entertaining tale of a casual, urban, carefree person’s conversion into a person of genuine worth and true dignity. “Polladhavan” was remade in Kannada as “Punda,” in Telugu as “Kurradu” starring Varun Sandesh, in Sinhala as “Pravegeya,” in Bengali as “Borbaad” (2014), and in Hindi as “Guns of Banaras” (2020). However, none of them could achieve the excellence earned by the original version.

Where to Watch:

5. aadukalam (2011).

As the roosters combat in the arena with each other, it becomes a fight of the egos of the individuals who own the fowl. So, when Karuppu’s rooster emerges victorious, he not only earns a lot of money but also the enmity of his bosses, Periyasamy (V. I. S. Jayapalan) and Rathnasamy (Naren). From then onwards, the life of our protagonist will be filled with one hurdle after another as the tale of loyalty, self-esteem, deception, and honor unfolds.

Related Read to Vetrimaaran Films: 10 Great Tamil Movies You Can Stream On Netflix Right Now

In his sophomore venture, Vetrimaaran presents a varied cultural pattern of rural Tamil Nadu. He uses realism, tradition, and contemporaneity, soaked in local flavor within the narrative structure of his tightly structured screenplay. The conflicts introduced within the plot points create tension by employing smart conventions that are able to sustain the viewer’s anticipation. The film’s editing pattern makes a commendable pace and multi-layered visual design that heightens the film’s impact. Though the filmmaker has openly admitted that he was inspired by the dogfighting scene of “Amores Perros” (2000), Vetrimaaran has infused his style and poise within the narrative.

Despite its strong content and potential for box-office success, filmmakers from other regions have not dared remake the film until now. The reason is that the film’s milieu is so rooted in Tamil Nadu. At the 58th National Film Awards, the film won five awards: Best Director, Best Screenplay, Best Editing, Best Choreography, and Special Jury Award for Acting.

4. Viduthalai: Part I (2023)

Vetrimaaran’s “Viduthalai,” based on prolific author Jeyamohan’s short story “Thunaivan,” started as a low-budget project like “Visaranai,” reintroducing comical actor Soori as the protagonist. But considering the story’s scope and the casting of Vijay Sethupathi as the rebel leader Perumal ‘Vaathiyar,’ “Viduthalai” became the long-gestating project in Vetrimaaran’s career. Set during the turbulent 1980s period in Tamil Nadu and heavily drawing from the documented cases of police brutality (like the Vachathi case), “Viduthalai: Part I” unfolds from the perspective of Kumersan (Soori), a low-ranked police official assigned to the special police battalion in charge of quelling the Tamil People’s Army’s rebellion, and catch its leader, Perumal. Kumerasan drives the police jeep in the hilly terrain and witnesses firsthand the various oppressive tactics to displace the tribal communities and clear the land for the mining operations. 

“Viduthalai: Part I” is not only the most brutally violent film in Vetrimaaran’s filmography but also one of the most disturbing films ever made in Tamil cinema. The graphic depiction of the police authorities’ violence – particularly against women – can profoundly distress the viewers. Like Vetrimaaran’s previous works, “Viduthalai” highlights the major issues of environmental exploitation and social injustice. Yet one could wish the film was relatively concise and not make us wait for the answers with a sequel that’s going through one reshoot after another. The most significant discovery of “Viduthalai” is Soori as the leading man. Unlike most comedian-turned-lead actors, Soori has proved his incredible acting range and followed it with versatile performances in “ Garudan ” and “Kottukaali.”

3. Asuran (2019)

What becomes the last resort for a farmer who goes on the run with his family as he is compelled to protect his son, who has murdered a wealthy upper-caste landlord in a fit of vengeance? The reply should be to fight with the oppressing forces and reclaim his identity. That is precisely what Sivasaami (Dhanush) does to break away from the uncomfortable social status he has inherited. Based on the novel “Vekkai” by Poomani, Vetrimaaran’s screen adaptation is so watertight that every occurrence in the screenplay feels alluring.

Related Read to Vetrimaaran Films: Asuran (2019) Review: Rise, Asuran, Rise!

With “Asuran,” Vetrimaaran continues his excellent cinematic flair as a director, enhancing his commendable grasp on the tropes of mainstream cinema. The film also benefits from technical polish – the cinematography, background score, and editing are all top-notch. “Asuran,” too, has gut-wrenching violence and prepares the viewer for the edge-of-seat tension. The narrative follows a rhythm where the plot is revealed without wasting much of the screen time. The film belongs to the genre of revenge saga, which is told from the perspective of an oppressed caste protagonist.

It’s one of those mainstream films that fulfills a social purpose, for it’s hard to imagine anyone viewing “Asuran” and not abhorring the evil practice of casteism in our country and how it voluntarily degrades human values and status. At the Norway Tamil Film Festival Awards 2020, Vetrimaaran won the award for best director. The film also won two National Film Awards—Best Feature Film in Tamil and Best Actor.

Read the Complete Review of Asuran (2019) Here

2. visaranai (2016).

Based on the novella “Lock Up” by M. Chandrakumar, Vetrimaaran’s third outing in its first half has such brutal scenes of police torture that one could genuinely feel the bestial act of police torture. The viewers are compelled to cringe and empathize with the plight of four helpless souls. The film’s narrative can be strictly divided into two sections. Four Tamil migrant workers are falsely accused in a burglary case that has taken place at a wealthy and affluent man’s bungalow in Andhra Pradesh. The police beat these four men, black and blue, and want them to confess. Not able to withstand the pain, they agree to accept the charges. Once they are produced in the court, the film’s narrative takes a twist, and the viewers are presented with one shocking surprise after the other.

The filmmaker displays superb craftsmanship and commitment to an engaging dramatic tale that ends in a tragedy. The film subtly depicts that the characters in the movie become victims because of the system that protects criminal behavior. It is a profoundly troubling film that is devoid of cathartic and healing moments. Vetrimaaran is not hesitant to construct the brutal scene with ease, and he is not afraid to carve out his unique style. The film premiered at the 72nd Venice International Film Festival, where it won the Amnesty International Italia Award. Back home, it won three National Film Awards: Best Feature Film in Tamil, Best Supporting Actor, and Best Editing.

1. Vada Chennai (2018)

A tale of criminal activities narrated in a non-linear pattern over the span of more than two decades is the perfect recipe for a crime drama. Vetrimaaran’s narrative takes the viewers on a journey lasting nearly a hundred and sixty-four hours. It introduces them to the world of guilt, regret, and vital decisions leading to loyalty turned into betrayal. The protagonist of the film Anbu (Dhanush) is an expert carrom player but his life gets entwined into the world of crime. He gets pulled into the vortex so deeply that penitence alludes to him after a point in time.

Related Read to Vetrimaaran Films: Top Tamil Movies of 2018 and Where To Watch Them

With an ensemble cast, the film’s story is set in the underbellies of North Chennai, as the title implies, and the film’s theme is more nuanced than the conventional black-and-white morality tales where evil is punished by good at the end. “Vada Chennai” blatantly showcases the graphic world of crime and violence and investigates the nature of friendship and the ethics of vigilantism. Vetrimaaran’s script is a masterclass in non-linear narration. He delves deeply into the minds of his conflicted characters and explores how marginalized people grapple with moral codes and their emotions.

He further engages with many of the most fundamental questions about our humanity and how we relate to one another in a complex world. The stylistic elements in the film earn comparisons, bearing marked connections to several of Vetrimaaran’s other films. The film won the Best Film (People’s Choice Award) at the Pingyao International Film Festival 2018. At the Filmfare Awards South, Dhanush won the trophy for the Best Actor.

Read the Complete Review of Vada Chennai (2018) Here

Special mention: oor iravu (2020).

“Oor Iravu” is a part of the Tamil anthology drama “Paava Kadhaigal” (2020). Owing to its shorter running time, I have included it in the special mention category. On the surface level, the film depicts the tale of a daughter, Sumathi (Sai Pallavi), who had eloped from her village and now has reunited with her father, Janakiraman (Prakash Raj). However, as the story progresses, we discover the sensitivity and intricacies of the complex human psyche of individual characters within the film.

Also, Read: Paava Kadhaigal (2020) Netflix: Sinful Filmmaking under the Garb of Hard Hitting Social Drama

Vetrimaaran treated the film with a bold and innovative style, choosing a subject in which form and content merge. The pacing is not fast like in his other films; instead, it is a slow study of how Sumathi’s decision has impacted the lives of various family members. Vetrimaaran did not deviate from his usual style of narrative exploration, but he brought an understated rhythm to the unfolding of the events. “Oor Iravu” ends on a depressing note as we realize that such evil things are a reality and will continue to happen unless and until the evils of casteism are not obliterated from our society.

Vetrimaaran Links: IMDb , Wikipedia

Dipankar Sarkar is a freelance writer on various topics related to cinema. His articles have appeared in Scroll, The Hindu, Livemint, The Quint, The Tribune, Chandigarh, Upperstall, and vaguevisages.com amongst others.

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Birthday special: a look at tamil director vetrimaaran’s top 5 films.

Curated By : Entertainment Bureau

Local News Desk

Last Updated: September 05, 2024, 14:52 IST

Chennai, India

Vetrimaaran celebrated his birthday on September 4.

The director is known for his films, which has achieved significant economic success and critical praise.

Acclaimed filmmaker Vetrimaaran has recently celebrated his birthday on September 4. He is well-known for his unique filmography, which has achieved significant economic success and critical praise. He has won five National Film Awards, three Filmfare South Awards, and a Tamil Nadu State Film Award. On the special day, several fans and friends have sent him greetings on social media. So, on this special occasion, let’s take a look at 5 remarkable films by the renowned director.

Aadukalam: The 2011 Tamil-language drama film Aadukalam was directed by Vetrimaran, produced by S Kathiresan and distributed by Sun Pictures. The film stars Dhanush in the lead role, alongside Taapsee Pannu (in her Tamil debut), Kishore, VIS Jayapalan, and Naren Narayanan in the pivotal roles. The film turned out to be a huge success and won six awards at the 58th National Film Awards, including Best Director, Best Screenplay and Best Actor.

Visaranai: This 2015 crime drama film was written and directed by Vetrimaaran. It is based on M Chandrakumar’s novel Lock Up. The cast includes Dinesh, Anandhi, Samuthirakani, Aadukalam Murugadoss, Kishore, Pradheesh Raj, and Silambarasan Rathnasamy. The film premiered in the Orrizonti (Horizons) section of the 72nd Venice Film Festival, where it received the Amnesty International Italia award.

Vada Chennai: The film was released in 2018 written and directed by Vetrimaaran. The film stars Dhanush as the main lead alongside Kishore, Samuthirakani, Daniel Balaji, Pawan, Andrea Jeremiah, Aishwarya Rajesh and Ameer. This film marks the third collaboration of Dhanush with the director after Polladhavan (2007) and Aadukalam (2011). The film was a huge success and received several awards at the 2018 Ananda Vikatan Cinema Awards.

Asuran: This period action drama film directed by Vetrimaaran is based on Poomani’s novel Vekkai.The narrative of the Tamil action drama was based on actual events from the 1968 Kilvenmani tragedy. Asuran was a financial success, with critics praising its performances, narrative, and emotional connection with the audience from beginning to end. The film won two awards at the 67th National Film Awards — Best Feature Film in Tamil and Best Actor (Dhanush).

Viduthalai Part 1: This film is directed and co-produced by Vetrimaaran. The ensemble cast includes Soori, Vijay Sethupathi, Bhavani Sre, Gautham Vasudev Menon. Viduthalai released on March 31, 2023 in theatres to positive reviews from critics and became a commercial success at the box office. Viduthalai Part 2 is a direct sequel set to be released in 2024.

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Why Vetrimaaran is the most interesting director in Tamil films today

Vetrimaaran is arguably among the most interesting filmmaker working in the tamil film industry. here’s documenting his rise and what it takes to be a talent like him..

His production house’s name, Grass Root Film Company, is a clear pointer to Vetrimaaran’s worldview. This Deepavali’s biggest release in Tamil Nadu is, arguably, Kodi (Flag), a political thriller he has produced that stars Dhanush in his first double role, as twin brothers. The twins may be identical but their natures are mutually exclusive. Refreshingly, Kodi casts Trisha as a feisty woman politico, giving Dhanush’s eponymous hero a run for his money.

“For a hero movie, it’s pretty decently written,” pronounces Baradwaj Rangan, film critic and associate editor at The Hindu. “There’s a conflict, there are surprises and even within a commercial film, it’s properly written and directed. It’s not some random moments strung together to get people whistling.”

The film’s premise is how politics and political interests shape communities and the quality of their life. In this case, it involves skullduggery surrounding a factory emitting toxic effluents. It could be happening not too far away from our backyards.

At the Oscars

Vetrimaaran himself, however, was conspicuous by his absence during Kodi’s promos. He has a bigger task on hand. Visaaranai (Interrogation), the part-docudrama, part-crime thriller he directed, is India’s official entry to the 89th Academy Awards in the Best Foreign Language Film category. So he is in the US persuading jurors take note of his film, which has some truly hairy torture scenes. The last Tamil film that made it to the Oscars was 16 years back: Hey Ram starring Kamal Haasan.

Usually, the choice of any film to represent the country at the Oscars polarises critics, but Visaaranai remains largely unchallenged. Rangan agrees. “Visaaranai was a fantastic film.”

It tells the story of innocent migrant labourers picked up and tortured by the police to extract a false confession for a fatal robbery at an influential man’s house. How the film, shot in 42 days on a Rs 2-crore budget and eventually wining three National Film Awards, got made is interesting. After his Aadukalam in 2011, Vetrimaaran had busied himself with his production ventures, Udhayam NH4, Poriyaalan and Kaaka Muttai. When he was prepared to shoot his next, the script he picked was Soodhadi, a story on gambling, proposing Dhanush in the lead role. However, the actor had to take time off to work in Balki’s Shamitabh, being shot in Mumbai.

Vetrimaaran was mooting a book adaptation when director Balu Mahendra’s assistant serendipitously presented him with Lock Up, a riveting, partly autobiographical book written by M Chandrakumar, a former autorickshaw driver. The book, which took five years to write and another four to publish, narrates his harrowing experience while in jail in (then) Andhra Pradesh.

“When I pitched the story to Dhanush, who later produced the film, I said I can only guarantee you a three-day weekend run at the box office. But it’s a low-budget venture; you’ll get your investment back,” Vetrimaaran laughs. “Dhanush was amused, but agreed to fund the project. [I thought] it’s the kind of film that would not bring in repeat audiences. I was proved wrong and it got a good three-week run.”

The author, Chandrakumar, was incarcerated for a fortnight way back in 1983. “Yet his experiences are relevant even today,” points out Vetrimaaran. “Visaaranai reflects a stark reality from which you cannot shut yourself out: that is its success. It was challenging to find the right kind of actors and locations. We employed real stuntmen who could exercise restraint while beating up the actors.”

“What was unique was that there were a lot of first-time actors in the film; that added rawness to it,” says K Hariharan, filmmaker and critic. “Actors like Samuthirakkani and Kishore were entirely on the sidelines. That made it an interesting watch.”

Astutely, the team decided to send it to international film fests right away, confident it would work with foreign audiences. Visaaranai premiered at the Orrizonti section of the 72nd Venice Film Festival, a first for a Tamil film, and won the Amnesty International Italia Award. Crucially, the European audience was exposed to a hitherto unexplored form of Tamil cinema that dealt with grim reality in a non-dramatic but powerful way.

“Europeans have a different policing system. They found my narrative a bit harsh, though they were moved,” explains Vetrimaaran.

A rooted voice

It is Vetrimaaran’s preoccupation with sometimes gritty, sometimes heartwarming reality that makes this 41-year-old one of the best filmmakers of our times.

“The best thing about the regional filmmakers is that they bring in a very ‘native’ feel,” says Rangan. “Like if I watch Nagraj Manjule’s Sairat for instance, I find [elements] that remind me of Vetrimaaran. But that’s more because these filmmakers do these ‘rooted’ things very well. They give you the sense of the atmosphere, the rhythms of life in that particular environment, they take care to bring them alive.”

His critically acclaimed debut venture, Polladhavan (Ruthless Man) in 2007, followed a lower middle-class young man’s search for his stolen bike, an exercise that takes him through the seamy underworld. Four years later came Aadukalam (Arena), a Pongal release that raked in six National Film Awards. The cockfight arena was where love, ego, honour, friendship and betrayal were played out in the rustic backdrop of Madurai.

Says Manimaran, long-time friend and assistant, “Vetri used to like watching cockfights in the neighbourhood in our hometown. So he thought we could develop a story around them.”

There was no doubt about who would play the lead. “I wrote Aadukalam keeping Dhanush in mind,” says Vetrimaaran. “As an actor, he delivers exactly what I need and sometimes more. As a producer, he offers me complete freedom and does not interfere at all. He trusts me completely.”

Rangan explains the Vetrimaaran touch, “There is a world of difference in the way he uses the song and dance elements in Polladhavan and Aadukalam. They have become more organic and rooted; they’re not fantasy elements.”

“I personally prefer Aadukalam to Visaaranai, but it’s like comparing apples and oranges,” says Hariharan. “Aadukalam had a certain kind of warmth and spontaneity. Visaaranai, to me, looked rather staged.”

He explains, “Visaaranai’s [appeal across the world] is that for the first time in Tamil cinema, you see this kind of brute reality without the director taking recourse to a love story or family drama. It’s also interesting that a country like India allowed such a strongly critical film on the system. There’s no doubt that Vetrimaaran is a bold filmmaker.”

Vetrimaaran’s productive chemistry with Dhanush has paid rich dividends. The two went on to produce Kaaka Muttai (Crow’s Egg) in 2015, a subversive film poking fun at what is regarded as cool - pizzas, in this case. This little gem, premiering at the Toronto International Film Festival, tracks two brothers from a Chennai slum dying to taste a pizza. Directed by M Manikandan with wit, not once is the children’s dignity compromised. Their family struggles in a heartless and corrupt city and soon we find ourselves cheering for our little heroes. Kaaka Muttai pocketed two National Film Awards.

“There is a stamp of quality that people have begun to associate with Vetrimaaran, because even the films he produces are pretty decent,” says Rangan, adding that he looks for, and gets, that certain quality.

Vetrimaaran’s genius lies in shining a light on people we would not even glance at in our rat race. His films show us that ordinary people often lead extraordinary lives if only we stop to talk to them.

Smitten by cinema

Born in Cuddalore near Puducherry and raised in Ranipet, a suburban town in Vellore district, two and a half hours from Chennai, Vetrimaaran was smitten by cinema even as a child. His mother, a writer, ran a school in the area, while his father was a veterinarian. Friends remember him as a film buff who watched every movie that came to town.

“He would bunk classes and watch them, each three or four times. Then he would come to the school ground where we used to hang out until 7:30 in the evening and would retell the whole story to us. My friends and I have actually walked out of the theatre at times because the film was nowhere as good as his narration. He still has that quality,” says Manimaran, his assistant.

Vetrimaaran was in his second year of Masters in English Literature in 1999 when the now-deceased filmmaker Balu Mahendra was invited to judge a short film contest at the Loyola College, Chennai. Shortly afterwards, he attended a seminar conducted by the director and was inspired enough to assist him in Julie Ganapathy, Athu Oru Kanaa Kaalam and the television series Kadhai Neram.

Athu Oru Kanaa Kaalam cemented his friendship with the lead actor, Dhanush, whom he describes as his best friend. While still assisting Balu Mahendra, Vetrimaaran pitched the story of Desiya Nedunchalai, and the actor readily agreed to play the lead.

Recalls Manimaran, “Producers were not hard to come by because we had Dhanush. But a few had misgivings about how Vetri would handle the project as a newcomer. So we tossed aside that script, which I later made into Udhayam NH4.”

The initial years proved to be rough. “I was pitching different scripts to different people for three years and it was the sixth producer who okayed Polladhavan,” says Vetrimaaran on his directorial debut.

Adds Manimaran, who assisted him in the project, “After the film was edited, we were really scared to show it to the producer. We kept stalling the screening telling him it may not have come out as he expected. Finally, when he saw it, he was satisfied. We were relieved and gradually grew confident.”

Pushing for excellence

When Manimaran himself forayed into direction with Udhayam NH4 in 2013, Vetrimaaran returned the favour by stepping in as producer under his banner, Grass Root Film Company. As he puts it, “I want my production house to be a platform for good, interesting ideas. I can find a producer for my films, but others, who may be first-time filmmakers, might have innovative scripts that mainstream producers might not understand. Like Kaaka Muttai for instance.

“I produce films in partnership as I may not be able to afford the entire budget. Dhanush ends up co-producing some of them as our tastes are similar. None of my producers ever ask me for the budget. I always make sure it is within their means and I can give the desired returns.”

For someone who has been successful both commercially as critically, Vetrimaaran has directed only three films in nine years. “For me, every film is a learning process. After each, I take time to unlearn. Then I find new content, learn it completely and then execute it.”

Manimaran describes his working process thus, “Many directors make changes to the script on the spot. But Vetrimaaran is different because he pays attention to detail. He puts in a lot of effort, so there may be last-minute adjustments with lighting and locations. Unlike working with other directors, you need to be available 24 hours.”

Outside of work, the father of two, who met his wife Aarthi while at college, likes to race pigeons, pretty much like the characters he portrays. His rootedness has also led him to voice the germ of an idea: setting up an organic farm eventually.

Rangan describes grit as the definitive quality of Vetrimaaran’s films, and praises his skill in animating the atmosphere in terms of the integrity of the characters, the plot, and the texture. “The way he shapes the characters and writes them, you feel that these are not [just] individual people; you get a sense of where they come from, where they belong. [They’re] not just some random characters floating around.”

His fans are already talking about his fourth film, Vada Chennai (North Chennai), an ambitious gangster trilogy he has been planning since 2003. After undergoing several changes of scripts and stars, Dhanush, Vijay Sethupathi, Amala Paul and Samuthirakkani are among those confirmed on the project that is currently under way. Slated for release next year, Vada Chennai is also bound to have the by-now classic Vetrimaaran stamp.

(Published in arrangement with GRIST Media.)

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National Award winning director Vetrimaran's formula

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Hindu or not dir vetrimaaran sparks controversy on raja raja cholan's religion, tamil film director vetrimaaran says identities are being erased in cinema..

Tamil film director Vetrimaaran has sparked a controversy by speaking about Emperor Raja Raja Cholan's religious identity. According to the director, the famed ruler was not a Hindu Emperor.

Vetrimaaran's comments have come just days after the release of filmmaker Mani Ratnam’s magnum opus Ponniyin Selvan: Part One , which is based on Kalki’s fictional Tamil novel inspired by the Tamil emperor Raja Raja Cholan (since there is no English equivalent of the letter 'zha,' Chozhan is mostly written as ‘Cholan’).

Vetrimaaran was speaking at the 60th birthday celebrations of MP and Viduthalai Chiruthaigal Katchi’s (VCK) leader Thol Thirumavalavan on 1 October. He presided over as the Chief guest in the event which included a short film and documentary festival titled ‘ Makkal Ezhuchi, Ondru Seru’ (loosely translated as 'people, rise and come together’).

‘Thiruchitrambalam’ Review: Dhanush, Nithya Menen Deliver a Feel-good Drama

'Thiruvalluvar in Saffron and Raja Raja Cholan as a Hindu'

During this event, Vetrimaaran made some strong political statements.

Here are the key highlights of his speech.

The director recounted the best advice he got from VCK Chief Thirumavalavan before making the Dhanush-starrer Asuran – "Please stop showing how a single hero alone is changing society in your movies. All filmmakers make the same mistake. Show how change happens through a movement. That will be better."

“Art should be treated rightly. If we fail to do so, very soon we will lose out identities. They are constantly misappropriating our identities. Like, cladding Thiruvalluvar in saffron, presenting Raja Raja Cholan as a Hindu king. Our identities are being erased.”

“Art is inherently political. Our very existence is political. Knowingly or unknowingly, we occupy a certain political space. Cinema is an art form which very easily reaches common people and it is essential to make cinema political.”

Dravidian Movement Took Films to the Masses

“Despite pressure from external forces, the reason why Tamil Nadu has become a secular state is because Tamil cinema has adopted the Dravidian ideology.”

“When the Dravidian movement took over Tamil cinema, there were arguments about doing art for art’s sake and not for the masses. They talked a lot about aesthetics. Yes, that’s also important but no art is complete if it doesn’t touch the lives of people. Art should reflect people's lives.”

Vetrimaaran's fiery speech has left the internet divided. Here are some of the reactions to his statements:

'Well-Read, Politically Conscious Filmmaker'

During media interaction, when asked about Vetrimaaran's comments, actor and political leader Seeman opined that what the filmmaker said was true. He said that the Dravidian movement reclaimed cinema from a particular community (dominant caste) and made it a common medium for all. It was made possible by the Dravidian leaders of those days like Kalaignar M Karunanidhi and MG Ramachandran who worked in the film industry.

Vetrimaaran : Reflecting people is art. This art should be handled properly today. If we fail to deal with it today, we will lose our identity very soon. Dressing Valluvar in saffron, Rajaraja Chola was made a #Hindu king, & this continues. This will continue in cinema as well. pic.twitter.com/sNnIkUVW4q — Parthiban Shanmugam (@hollywoodcurry) October 2, 2022

Very insightful observation by #VetriMaaran : "Like removing our footwear before entering our homes, we should keep our phones elsewhere and read books in front of our children to bring them into the habit of reading." https://t.co/xMrKUwrlzc — Akileish (@Akileish) October 3, 2022

'Why Is Hinduism Always Subjected To Criticism?'

Reacting to the Vadachennai director's comments, Thalapathy Vijay's Thirupaachi fame, filmmaker Perarasu said, "A fake atheist is more dangerous than a fake preacher or a guru."

Raja Raja Chola was a Hindu King. Won't accept that as the term Hinduism didn't exist then? OK. He was a Shaivite King. Zero difference. All part of the same Sanathana Dharma.Debating Vetrimaran speech issue on @sunnewstamil at 7 p.m.tonight. — Sumanth Raman (@sumanthraman) October 3, 2022

It's better for Vetrimaran to focus on the craft rather than try to influence people with ideologies he doesn't fully understand. I never expected anything like this from the man, try to stay neutral do not take sides #VetriMaaran #KamalHaasan𓃵 — Thirukumaran (@Cine_Maniac_TK) October 3, 2022

Vetrimaaran is a reputed filmmaker from the South who is a serial national award winner. Known for making films centered around socially relevant subjects like caste inequalities, police brutality and the importance of education, he has received national awards for the first time, under two categories – best director and best screenwriter – for his film Aadukalam starring Dhanush. Some of his other award winning films are Kaaka Muttai, which was backed under his production, Visaranai and Asuran .

On the work front, his lineup of upcoming films includes Suriya-starrer Vaadivaasal and Viduthalai starring Soori, Gautham Vasudev Menon and Vijasethupathi .

‘Naane Varuvean’ Review: Dhanush & Yuvan Shine in Selvaraghavan's Eerie-Thriller

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Topics:    ponniyin selvan: part one      entertainment      vetrimaaran  .

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Snell wins 2nd Cy Young Award, is 7th to earn honor in both leagues

Shaun O'Neill

SAN DIEGO -- Blake Snell put himself alongside some of the game’s greats by earning his second Cy Young Award.

Snell on Wednesday was named the 2023 NL Cy Young Award winner after his dominant season with the Padres. Pairing that with his 2018 AL honor with the Rays, he became the seventh pitcher to earn the honor in each league. He joins Gaylord Perry, Randy Johnson, Pedro Martinez, Roger Clemens, Roy Halladay and Max Scherzer.

• All-time Cy Young Award winners

Snell, 30, received 28 first-place votes and two second-place votes in the balloting of select members of the Baseball Writers’ Association of America to claim a landslide victory. San Francisco’s Logan Webb was second, and Arizona’s Zac Gallen finished third.

#CyZilla ’s so nice, he had to do it twice 🏆 Congratulations to Blake Snell on being named the 2023 NL Cy Young Award winner! pic.twitter.com/ol1hLM5zSY — San Diego Padres (@Padres) November 15, 2023

“It means the work I’m putting in is paying off, it’s working,” Snell said after the voting results were revealed on MLB Network. “… Being able to win another one is a pretty amazing thing.”

Even before the voting results were announced, Snell was keeping some exclusive company with the game’s greats. Snell posted a 1.20 ERA over his final 23 starts in 2023. Only Cardinals Hall of Famer Bob Gibson had a better mark over 23 straight starts in a single season -- 0.85 in 1968.

Overall, Snell went 14-9 and led qualified NL starters in ERA (2.25), pitchers’ bWAR (6.0), ERA+ (182) and hits per nine innings (5.75). He issued the most walks in the Majors (99) but overcame that with 234 strikeouts (second in the NL) and a .152 opponents’ batting average with runners in scoring position (best in the Majors). Snell is the first pitcher since Early Wynn in 1959 to win a Cy Young Award while leading the Majors in walks.

How did Snell lose his 2018 Cy Young form and then regain it?

“I tried to be a pitcher that I wasn’t -- ‘Oh, I can’t walk guys,’” Snell said. “When I walked more than two, I’d get so mad at myself: ‘You’re better than that. Stop doing this.’ I was more worried about what other people were saying.

“I kind of just looked in the mirror and said, ‘I know how good I am. If I walk guys, that’s OK for me.’ I’m different, and I believe I have such good stuff that one walk is not going to end my success or end the game. By me doing that and understanding that I’m different, but I’m really good at being different, that confidence took over and I became the pitcher that I am today.”

After leading MLB in ERA, Blake Snell caps off his incredible season with his second Cy Young Award. pic.twitter.com/YfDHqAhAJ5 — MLB Stats (@MLBStats) November 15, 2023

It was a spectacular performance in his free-agent walk year. Though Padres general manager A.J. Preller has indicated a desire to re-sign Snell, the left-hander figures to command a massive contract that might prove prohibitive to a Padres club that has several star players already wrapped up with long-term deals.

This is the fourth straight season a Cy Young winner has been a free agent .

Regardless of what uniform Snell wears come spring, he goes down as the fifth Padres pitcher to win a Cy Young Award, joining Randy Jones (1976), Perry ('78), Mark Davis ('89) and Jake Peavy (2007).

• The statistical absurdity – and brilliance – of Snell's '23 season

It wasn’t just the mirror that helped change Snell’s view of his pitching style. Padres pitching coach Ruben Niebla emphasized that runners on base brought Snell an opportunity to showcase his four-pitch array of swing-and-miss stuff.

"I've got a guy here that has stuff ," Niebla told MLB.com beat reporter AJ Cassavell during the season. "The message is: ‘Go get outs.’ It's not: ‘Don't walk people.’ Walks are part of the game, and you have the stuff to be able to pitch through walks. We're not going to talk about walks. We actually laugh about walks."

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Opponents hit .255 against Snell’s fastball, .079 against his curve, .185 against his changeup and .123 against his slider.

“He’s probably got the best stuff in the game,’’ Giants catcher Patrick Bailey said after facing Snell in September. “Really good breaking ball, really good changeup, really good fastball.’’

Snell’s changeup hadn’t been so effective since his first Cy Young season.

“I’ve always said I’m at my best with my changeup,’’ Snell said late in the season. “It’s everything to me. The last couple of years, I was trying to throw my slider, and it’s never really been me. I’ve always been a changeup guy.

“So being able to get that back and work the slider when I need to -- the curveball, fastball have always been there. I do my best pitching when I have those.’’

He now has two trophies to prove that true.

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2024 Excellence in AmeriCorps Awards Celebrates Outstanding Service and Impact

AmeriCorps commends awardees for their dedication to transforming communities through national service 

WASHINGTON, DC– AmeriCorps, the federal agency for national service and volunteerism, recognized four AmeriCorps members and two grantees in the State and National program for their excellence in service. Each year, AmeriCorps State and National recognizes programs and individuals for the Excellence in AmeriCorps Award that consistently supports its mission in the following categories: Impactful Service Award, Inclusive Service Award, Innovative Service Award and Lifetime of Service Award.   

“These remarkable individuals and programs exemplify the very best of what AmeriCorps stands for—dedication, innovation, and a deep commitment to service. Their work is not only transforming lives but also strengthening the fabric of our communities,” said AmeriCorps CEO Michael D. Smith . “The 2024 Excellence in AmeriCorps Awards shine a spotlight on their extraordinary contributions and the enduring impact of national service.”  

The Impactful Service Award is presented to Kathryn Yang from the Wisconsin Association for Homeless and Runaway Services at Pathfinders in Milwaukee . Kathryn's relentless advocacy for vulnerable youth and her work in combating homelessness and sexual exploitation have made a lasting impact on her community.  

The Inclusive Service Award goes to Rocky Mountain Youth Corps for their American Sign Language Inclusion Program, which has significantly enhanced accessibility and inclusivity for the Deaf and Hard of Hearing community in New Mexico.  

Jeevanjot "JJ" Kapur of CultureAll in Iowa is recognized with the Innovative Service Award for his groundbreaking Open Book Project , which connects rural Iowans with diverse communities, fostering understanding and digital inclusion.  

Karen Baker, Executive Director of Yolo Food Bank , receives the Lifetime of Service Award in recognition of her decades-long commitment to service and her leadership in disaster preparedness and community resilience.  

The Outstanding AmeriCorps Disaster Response Team Award is awarded to the Conservation Corps of Minnesota and Iowa for their exemplary disaster response efforts, consistently supporting communities in times of need across the Midwest and beyond.  

Juliet Vibert, Disaster Corps Manager at SBP , is honored with the Excellence in Disaster Services Leadership Award for her outstanding leadership and dedication to training and deploying AmeriCorps members during critical disaster responses.  

The Native and Indigenous Leadership in Service Award is presented to the Chinle Chapter of the Navajo Nation for their transformative initiatives in health, infrastructure, and disaster relief, making a profound difference in their community.  

Since the first class of AmeriCorps members pledged to “get things done for America” nearly 30 years ago, more than 1.3 million Americans have served. Every year, thousands of AmeriCorps members prepare students for success, rebuild communities and revitalize cities, support veterans transitioning from military to civilian life, fight the opioid epidemic, preserve public lands, strengthen the workforce and so much more.  

Now in its 10th year, the Excellence in AmeriCorps Awards honor the outstanding and innovative State and National programs, members, and alumni tackling our nation’s most pressing challenges.  

Learn more about these AmeriCorps State and National at AmeriCorps.gov/ASN .   

AmeriCorps, the federal agency for national service and volunteerism, provides opportunities for Americans to serve their country domestically, address the nation’s most pressing challenges, improve lives and communities, and strengthen civic engagement. Each year, the agency places more than 200,000 AmeriCorps members and AmeriCorps Seniors volunteers in intensive service roles; and empowers millions more to serve as long-term, short-term, or one-time volunteers. Learn more at AmeriCorps.gov .

AmeriCorps offers opportunities for individuals of all backgrounds to be a part of the national service community, grow personally and professionally, and receive benefits for their service. Learn how to get involved at AmeriCorps.gov/Serve .

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Filmmaker Vetrimaran’s remark triggers row in Tamil Nadu over Chola king’s religious identity

Raja raja i had built the brihadishwara or the big temple between 1003 and 1010 ad and he was the inspiring force behind the expansion of his kingdom by land and sea..

More than his monumental achievements and the Brihadishwara temple in Tamil Nadu’s Thanjavur that he constructed which still draws lakhs of devotees annually, the mighty Chola emperor Raja Raja’s religious identity suddenly appears to be in question. Raja Raja I had built the Brihadishwara or the Big Temple between 1003 and 1010 AD and he was the inspiring force behind the expansion of his kingdom by land and sea.

The life and living conditions of the Cholas had always fascinated the people here and Kalki Krishnamurthy’s Ponniyin Selvan (Ponni’s son) in Tamil depicting the story of Arulmozhivarman, later known as Raja Raja Cholan, continues to hold sway in people’s mind.

Recently, Tamil filmmaker Vetrimaaran stoked a controversy , apparently targeting the Right wing forces. He claimed that Raja Raja Cholan was depicted as a Hindu king and already attempts were made to take away Tamil saint poet Tiruvalluvar’s identity as well.

His remark found support from actor and Makkal Needhi Maiam founder Kamal Haasan and Congress parliamentarian S Jothimani. Several pro-Tamil activists claimed on social media that the Chola kings were Shaivites by faith and this identity of the Tamil kings was “hijacked.” His remark comes days after the release of Mani Ratnam’s multi-starrer film ‘Ponniyin Selvan’, based on author Kalki Krishnamurthy’s historical fiction.

Apparently shocked at an attempt to portray the king as non-Hindu, Telangana and Puducherry Governor Tamilisai Soundararajan, who hails from Tamil Nadu , remarked that there was an attempt to hide the Hindu cultural identity in TN and called for efforts to resist it.

Lashing out at Vetrimaaran, BJP ’s former national secretary H Raja claimed that Raja Raja Cholan was an ardent devotee of Lord Shiva and called himself ‘Sivapadha Sekaran’.

“He was responsible for building the Brihadishwarar temple. Has Raja Raja Cholan built churches or mosques to say he was not a Hindu?” he asked.

The National Award-winning director Vetrimaaran said at an event that there were persistent efforts to saffronise Tamil savant Thiruvalluvar and Raja Raja Cholan.

Rejecting his remarks, BJP leader H Raja dared the director to show at least two churches or mosques built by Raja Raja Cholan. Haasan, the latest to take sides in the controversy, said there was no term as Hindu religion during this Chola king’s reign. “There were Vaishnavism, Shaivism and Samanam. The Britishers coined the term Hindu,” the veteran actor who watched Ponniyin Selvan along with the cast and crew, claimed.

“Raja Raja Cholan was more cosmopolitan in outlook and secular too. He had raised temples for Lord Shiva, Ganesh and Vishnu during his reign and liberally granted funds, to those who sought for the construction of Jain or Buddhist temples,” P Venkatesan, former director of Epigraphy, Archaeological Survey of India (ASI), said.

Both Shaivism and Vaishnavism are considered branches of Hinduism. In fact, this king had named a gopuram in the Big Temple as ‘Dakshina Meru’. “Raja Raja Cholan had built temples in Sri Lanka and in many Asian countries. A copper plate inscription says that he was an incarnation of Vishnu,” Venkatesan told PTI on Friday.

He was an admirable king who did not oppose any religion and treated his subjects as equals, he said and added that several inscriptions show his grants or charity.

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As more survivors come forward with their traumatic experiences of mistreatment by men in the film industry, director Soumya has revealed that she was banned from Malayalam cinema for “questioning” a powerful figure who barged into an actor’s room, drunk, and demanded sex in exchange for money. She also claimed that she was shunned by producers who feared she might become “the next Anjali Menon”.

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