Vadhandhi: The Mystery of Mani Review:
The eminent English jurist William Blackstone's quote, 'It is better that ten guilty escape than one innocent suffer,' can never be dated, as the unfortunate trend of police departments' overreach, custodial deaths, and extrajudicial killings remains unabated. Andrew Louis' Vadhandhi: The Mystery of Mani is a fascinating follow-up to the first season (2022) that balances a procedural while also addressing the ethical dilemma of a cop. The most brilliant thing about the second season is its writing, where almost nowhere do the thrills of an investigation or the very human conundrum of SI Moosa Raaza (Sasikumar) eclipse the other.
The series begins with Madurai's Padambathur police station caught in the cross-hairs of a political battle between the State and Central governments over an expressway project. As a JCB begins earthmoving, two skeletons are found in the sand. The Centre blames the State for planting skeletons in the project site as a form of resistance. SI Moosa Raaza of Padambathur station, the jurisdiction under which the project site falls, becomes the Investigating Officer (IO) of a case that has become the centre of attention among the public and media. As Moosa begins investigating the skeletons, more proverbial skeletons in the closet begin revealing themselves.
Sasikumar is someone who, through his choice of films, is associated with loyalty, honesty, and good-naturedness to the point of even getting backstabbed. He is the quintessential 'romba nallavar' type in Tamil cinema. That makes him the perfect fit for Moosa Raaza, who will not rest peacefully unless an accused exhausts his last opportunity to prove his innocence. Although his deputies encourage him to do the rough stuff while probing people, Moosa exercises maximum restraint. Both Vivek (SJ Suryah in season one) and Moosa are not flashy and violent for effect, but there is a nuance. Vivek is nimble and agile, while Moosa appears puzzled, clueless, and slow. But every move by Moosa is carefully calculated before he delivers the perfect pounce.
Sasikumar ably performs his well-written role. This season has a number of subplots, and every subplot neatly converges with the main plot. About Moosa's characterisation, being a cop doesn't automatically make him immune to systemic bias. In his brief struggle to obtain justice for practicing his faith while in service, the writers succinctly but precisely inform audiences why he is empathetic to the accused. The narrative branches out to different spaces that sometimes put him under fire, but the writing beautifully never makes Moosa behave uncharacteristically for the sake of solving a case.
The screenplay gives every character enough room to develop organically. Barring a few instances, there are very few convenient writing choices. Another aspect that significantly enriches the narrative is its use of red herrings. There isn't a speck of artificiality to them. So convincing are these misdirections that even when the makers plant what appears to be an obvious clue in one of the early episodes, you begin to question whether it was a clue at all as the season unfolds. The cliff-hangers and mini-climaxes land more often than not. The writing also hits the bull's-eye by neatly bringing together a bewildering number of subplots just when they seem on the verge of drifting apart. While the first season stumbled in its fifth and sixth episodes, that weakness has been decisively addressed this time around. And how was it done? In splendid fashion.
Director: Andrew Louis
Cast: M Sasikumar, Anagha Maruthora, Yashwanth, Aparna Das, Vivek Prasanna
Every revelation in the final two episodes steadily tightens the suspense, with each twist amplifying both the intrigue and the shock. While at it, the writers also deliver small joys through certain portions, dialogues, and humour. Some dry laughs are sprinkled throughout, courtesy Vivek Prasanna's Ramar and George Vijay's Mohan Kumar. Even in scenes that appear light, the crime and the investigation cast a lingering shadow. Take, for instance, the moment when Moosa's expectant wife, Sumaya (Aparna Das), worries after her prayer beads snap. As he helps gather the scattered mani (beads), Moosa is suddenly struck by the thought of how to prove 'Modakkathan' Mani's (Yashwanth) innocence, neatly navigating an ordinary domestic moment into the series' core plot. Similarly, another couple, SP Rathika Nair (Anagha Maruthora) and her advocate husband, fight and patch up over the investigation of the case. None of these portions stuck out like a sore thumb.
Also, the dialogues need a special mention. Sasikumar, over the years, has immortalised several lines with his stern tone and delivery. There are some effective lines about trust, underestimating the wrongdoer's smarts, and the police profession. These positives, however, do not negate the presence of cracks in the series. There are some very obvious writing conveniences in how the series deals with the forensics department. You may doubt the crucial breakthrough achieved with a scientific process early in the season as the plot thickens. It is understandable that as the series is rushing towards the end, not everything could be fleshed out properly with enough time. The scenes involving the IG and the Commissioner are written rather superficially, and despite Moosa making questionable decisions, he is free of criticism or consequences from his superiors. This reduces the tension and dramatic stakes of the show. What was also lacklustre is the way some confidential information gets compromised.
Despite a few writing conveniences, Vadhandhi: The Mystery of Mani stands out for its successful attempt in understanding the human cost of policing as much as it derives thrills from the mechanics of a mystery. Vadhandhi Season 2 is refreshing as it introduces an on-screen cop who is your 'Nermaiyaana Adhigari' but wouldn't take the law into his own hands. Banking on the idea that the pursuit of justice is meaningful only when it remains anchored in protecting the innocent, the series strikes big. In doing so, Andrew Louis crafts a sequel that betters its predecessor.
