Sirai

As far-fetched as it may seem, one can make the case for Sirai to be added to a list of suggested reading material along with Rajinikanth’s Vettaiyan. They are both films about impossibly upright protagonists who invariably prefer to take law into their own hands, as long as it fits into their notions of having a moral conscience. They are both films that begin by making us sympathise with these heroes, who are as good as the heroes of a hundred other cop movies, only to then realise that even they could go terribly wrong. Their transformation from a trigger-happy hero to an empathetic human is the arc both films take. But if Vettaiyan was burdened by the weight of its mega star voltage, Sirai is more than happy to make the movie about other characters too, resulting in an unadulterated debate about encounter killings and the biases that make this act more complex.

Actor Vikram Prabhu’s choice of scripts has been impressive in the recent past. His upcoming venture, Sirai, marks his second collaboration with writer Tamizh (also an actor) after their critically acclaimed Taanakkaran. Sirai, like Taanakkaran, casts Vikram Prabhu’s protagonist as a police officer, but from the district armed reserve wing.