vetrimaran name meaning in tamil

பெயர் விளக்கம் குழந்தைப் பெயர்கள் முகப்பு 1 | புதிய பெயரைச் சேர்க்க  

JOIN OUR NEWSLETTER

Subscribe to our newsletter and stay connected

வாராந்திர செய்தி மடல் பெற எங்களோடு இணைந்திருங்கள்

• Actress Photos
• Actors Photos

Categories:

• Song Lyrics
• Tamil Cinema Memes
• Video Songs
• Whatsapp Status Videos

Director Vetrimaran Wiki, Biography, Age, Gallery, Spouse and more By Parthiban, Ram Krish S, Sarath

Vetrimaaran - News , Gallery , Reviews , Videos

Vetrimaaran gallery, wallpapers, videos, news and reviews.

Viduthalai Part 1 – Kaattumalli Video | Vetri Maaran | Ilaiyaraaja | Soori | Vijay Sethupathi

Asuran – Kathari Poovazhagi (Video Song) | Dhanush | Vetri Maaran | G V Prakash | Kalaippuli S Thanu

Asuran Tamil Movie HD Pictures | Dhanush, Manju Warrier, Vetri Maaran

Asuran – Back To Back Promos 1 | Dhanush | Vetri Maaran | G. V. Prakash Kumar | Kalaippuli S Thanu

Asuran – Yen Minukki Lyric Video | Dhanush | Vetri Maaran | G V Prakash | Kalaippuli S Thanu

Asuran Tamil Movie First Look Posters | Dhanush, Vetri Maaran

VADACHENNAI – Ennadi Maayavi Nee (Redux) Video Song | Dhanush | Vetri Maaran | Santhosh Narayanan

Asuran Tamil Movie HD First look Poster | Dhanush

VADACHENNAI – Release Promo #4 | Movie Releasing on October 17th | Dhanush | Vetri Maaran

VADACHENNAI – Release Promo #3 | Movie Releasing on October 17th | Dhanush | Vetri Maaran

VADACHENNAI – Release Promo #2 | Movie Releasing on October 17th | Dhanush | Vetri Maaran

VADACHENNAI – Release Promo #1 | Movie Releasing on October 17th | Dhanush | Vetri Maaran

VADACHENNAI – ‘Anbu is the Anchor’ Promo | Movie Releasing on October 17th | Dhanush | Vetri Maaran

Vada Chennai Press Meet HD Gallery | Dhanush, Aishwarya Rajesh, Andrea Jeremiah

VADACHENNAI – Set Making | Dhanush | Vetri Maaran | Santhosh Narayanan | Releasing on Oct 17th

VADACHENNAI – Maadila Nikkura Maankutty (Video Song Promo) | Dhanush | Vetri Maaran

VADACHENNAI – CRBT Codes | Dhanush | Vetri Maaran | Santhosh Narayanan

VADACHENNAI – Jail Set Making | Dhanush | Vetri Maaran | Santhosh Narayanan

VADACHENNAI – Maadila Nikkura Maankutty (Lyric Video) | Dhanush | Vetri Maaran | Santhosh Narayanan

VADACHENNAI – King of the Sea | Dhanush | Vetri Maaran | Santhosh Narayanan

VADACHENNAI – Goindhammavaala (Lyric Video) | Dhanush | Vetri Maaran | Santhosh Narayanan

VADACHENNAI – Official Jukebox | Dhanush | Vetri Maaran | Santhosh Narayanan | #SaNa25

VADACHENNAI – VadaChennai Theme | Dhanush | Vetri Maaran | Santhosh Narayanan | Wunderbar Films

VADACHENNAI – Mathiya Seraiyila (Lyric Video) | Dhanush | Vetri Maaran | Santhosh Narayanan

VADACHENNAI – Epadiyamma (Lyric Video) | Dhanush | Vetri Maaran | Santhosh Narayanan

VADACHENNAI – Ennadi Maayavi Nee (Lyric Video) | Dhanush | Vetri Maaran | Santhosh Narayanan

VADACHENNAI – Kaarkuzhal Kadavaiye (Lyric Video) | Dhanush | Vetri Maaran | Santhosh Narayanan

VADACHENNAI – Sandhanatha (Lyric Video) | Dhanush | Vetri Maaran | Santhosh Narayanan

VADACHENNAI – Alangaara Pandhal (Lyric Video) | Dhanush | Vetri Maaran | Santhosh Narayanan

Annanukku Jey – Thaaru Maara Video Song | Dinesh, Mahima Nambiar | Vetrimaaran | Arrol Corelli

Annanukku Jey | Matta Sekar Video Song | Dinesh, Mahima Nambiar | Vetrimaaran | Arrol Corelli

Annanukku Jey | Mayakkuraane Video Song | Dinesh, Mahima Nambiar | Vetrimaaran | Arrol Corelli

VADACHENNAI – Character Introduction | Dhanush | Vetri Maaran | Santhosh Narayanan

Annanukku Jey | Maane Thene Video Song | Dinesh, Mahima Nambiar | Vetrimaaran | Arrol Corelli

Annanukku Jey | Official Trailer | Fox Star South | 31st August

Vada Chennai Movie Latest Exclusive Photos | Dhanush

Annanukku Jey | Mersal Illai Song Lyrical | Dinesh, Mahima Nambiar | Vetrimaaran | Arrol Corelli

VADACHENNAI – Official Teaser (Tamil) | Dhanush | Vetri Maaran | Santhosh Narayanan

Vada Chennai First Look Poster | Dhanush, Aishwarya Rajesh, Vetri Maaran

Details on completion of ENPT and other movies lined up for Dhanush

Director Ameer bags Vijay Sethupathi role from Vada Chennai

Lens – Official Trailer | Vetri Maaran | G V Prakash Kumar | Mini Studio | Jayaprakash Radhakrishnan

• Privacy Policy
• Terms & Conditions

© Gethu Cinema. All Rights Reserved

• ₹ 10 Lakh,1" data-value="Loan ₹ 10 Lakh">Loan ₹ 10 Lakh
• Games & Puzzles

• Entertainment
• Latest News
• Kolkata Rape Case Live Updates
• Web Stories
• Mumbai News
• Bengaluru News
• Daily Digest

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.)

• Terms of use
• Privacy policy
• Weather Today
• HT Newsletters
• Subscription
• Print Ad Rates
• Code of Ethics

• India vs Sri Lanka
• Live Cricket Score
• Cricket Teams
• Cricket Players
• ICC Rankings
• Cricket Schedule
• Shreyas Iyer
• Harshit Rana
• Kusal Mendis
• Ravi Bishnoi
• Rinku Singh
• Riyan Parag
• Washington Sundar
• Avishka Fernando
• Charith Asalanka
• Dasun Shanaka
• Khaleel Ahmed
• Pathum Nissanka
• Other Cities
• Income Tax Calculator
• Petrol Prices
• Diesel Prices
• Silver Rate
• Relationships
• Art and Culture
• Taylor Swift: A Primer
• Telugu Cinema
• Tamil Cinema
• Board Exams
• Exam Results
• Admission News
• Employment News
• Competitive Exams
• BBA Colleges
• Engineering Colleges
• Medical Colleges
• BCA Colleges
• Medical Exams
• Engineering Exams
• Love Horoscope
• Annual Horoscope
• Festival Calendar
• Compatibility Calculator
• Career Horoscope
• Manifestation
• The Economist Articles
• Lok Sabha States
• Lok Sabha Parties
• Lok Sabha Candidates
• Explainer Video
• On The Record
• Vikram Chandra Daily Wrap
• Entertainment Photos
• Lifestyle Photos
• News Photos
• Olympics 2024
• Olympics Medal Tally
• Other Sports
• EPL 2023-24
• ISL 2023-24
• Asian Games 2023
• Public Health
• Economic Policy
• International Affairs
• Climate Change
• Gender Equality
• future tech
• HT Friday Finance
• Explore Hindustan Times
• Privacy Policy
• Terms of Use
• Subscription - Terms of Use

August 29, 2024

Vetrimaaran Biography, Age, Height, Wife, Children, Family, Caste, Wiki & More

Updated On : October 7, 2019

Vetrimaaran

Film director.

Vetrimaaran Photos

Vetrimaaran popularity on social media, short biography.

National Award Winner, Ace Tamil Film Director, Vetrimaaran was born on 4th September 1975 in a small town called Cuddalore in Tamilnadu, India. The Grim Movie maker has made India proud with his Film Visaranai becoming the official entry at Oscars in Foreign Film Category.

Vetrimaaran Complete Bio & Career

Vetrimaaran popular videos.

Vetrimaaran Family, Relatives and Other Relations

He was born to Dr. V. Chitravel and Megala Chitravel . Vetrimaaran is married to Aarthi who is working as a General Manager in a Multinational company. The couple is blessed with 2 children including a daughter named Poonthendral .

Life's Important Dates Of Vetrimaaran

• LIFE EVENTS
• FAMILY EVENTS

Body Measurements

Personal Info

Shocking / Interesting Facts & Secrets About Vetrimaaran

• After Asuran, he will be shooting for a movie based on Kota Neelima's much acclaimed novel 'Shoes Of The Dead' . He announced this film in 2016 but is yet to start shooting.
• Vetrimaaran also launched his own production house called the Grass Root Film Company in the year 2012.
• He is someone who believes in quality rather than quantity as he has directed just 5 films thus far in his 12 years long career.

Vetrimaaran Age, Birthday Facts and Birthday Countdown

48 years, 11months, 25 days old age Vetrimaaran will turn 49 on 04 September, 2024. Only 5 days, 20 hours,30 minutes has left for his next birthday.

Birthday Calendar

Recommended for you.

Sangeeta Sornalingam (Vijay's Wife) Biography, Age, Family, Husband, Children, Facts, Wiki & More

Parmish Verma Wiki, Age, Height, Girlfriend, Family, Biography & More

Krishna Priya (Atlee's Wife) Biography, Age, Children, Family, Facts, Height, Weight, Wiki & More

Rashmika Mandanna Biography, Age, Height, Weight, Partner, Family, WIki & More

Deepika Chikhalia Biography, Age, Husband, Children, Family, Caste, Wiki & More

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.

• Web Stories
• Collections
• #Maruthi Nagar Subramanyam Movie Review
• #Demonte Colony 2 Movie Review
• #Kiran And Rahasya Are Now A Couple
• December 18, 2023 / 04:45 PM IST

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

Gallery of Vetrimaaran

Upcoming movies, filmography of vetrimaaran.

Latest News on Vetrimaaran

Upcoming celebs birthdays.

Richa Sharma

Aadukalam Murugadoss

Soundararajan

Priyanshu Painyuli

Bikramjeet Kanwarpal

Shreya Dhanwanthary

B.S. Avinash

Saripodhaa Sanivaaram

Aho Vikramaarka

The Greatest of All Time (The GOAT)

35 Chinna Katha Kaadu

Sundarakanda

Uruku Patela

Bhale Unnade

Janaka Aithe Ganaka

Mechanic Rocky

• Now Playing
• Airing Today
• Popular People
• Discussions
• Leaderboard
• Translations
• Content Issues 0

Personal Info

Known For Directing

Known Credits 36

Gender Male

Birthday September 4, 1975 (48 years old)

Place of Birth Cuddalore, Tamil Nadu, India

Also Known As

• Vetri Maaran
• வெற்றிமாறன்
• Vetri Maran

Content Score 

Yes! Looking good!

Looks like we're missing the following data in en-US or en-US ...

Login to edit

Keyboard Shortcuts

Login to report an issue

Vetrimaaran

Vetrimaaran is an Indian film director, screenwriter and film producer working in the Tamil film industry. His works, predominantly social issue dramas and action crime films, have been acclaimed for their gritty realism and scope. He is the recipient of five National Film Awards, eight Ananda Vikatan Cinema Awards, two Filmfare South Awards and the Amnesty International Italia Award from 72nd Venice Film Festival.

Vada Chennai

Viduthalai: Part I

Polladhavan

Paava Kadhaigal

Adhu Oru Kana Kaalam

— … Director 2024 … Director 2023 … Director 2020 ( ) … Director 2019 … Director 2018 … Director 2016 … Director 2011 … Director 2007 … Director 2005 … Assistant Director 2003 … Assistant Director 2002 … Assistant Director 2001 … Assistant Director — … Story — … Dialogue … Screenplay … Story — … Screenplay 2024 … Dialogue … Screenplay 2024 … Story 2023 … Dialogue … Screenplay 2021 … Original Story 2020 ( ) … Writer 2020 … Original Story 2019 … Dialogue … Screenplay 2018 … Story … Screenplay 2016 … Dialogue … Screenplay 2014 … Story 2013 … Dialogue 2013 … Writer 2011 … Dialogue … Story … Screenplay 2007 … Dialogue … Screenplay … Story — … Producer — … Producer 2024 … Producer 2022 … Producer 2022 ( ) … Producer 2021 … Producer 2019 … Producer 2018 … Producer 2018 … Producer 2016 … Producer 2016 … Producer 2016 … Producer 2015 … Producer 2014 … Producer 2013 … Producer 2013 … Producer 2024 as Himself (Cameo) 2018 as Special Appearance 2014 as Self 2013 as Cameo appearance 2002 as Deepak's assistant (uncredited role) — … Presenter 2023 … Presenter 2022 ( ) … Presenter 2020 … Presenter 2018 … Presenter 2022 … Creator Production 16 Directing 13 You need to be logged in to continue. Click here to login or here to sign up. Can't find a movie or TV show? Login to create it. On media pages On tv season pages, on tv episode pages, on all image pages, on all edit pages, on discussion pages. Want to rate or add this item to a list? Not a member? Sign up and join the community International Today’s Paper Join WhatsApp Channel Movie Reviews Tamil Cinema Telugu Cinema Vetri Maaran: A vital link between Tamil cinema and literature  On his birthday, let's take a look at how vetri maaran is sustaining the trend of film adaptations in tamil cinema. Tamil filmmakers have seldom recognized the untapped potential of Tamil literature. The argument that Tamil cinema is too ‘masala’ for it to borrow from literature doesn’t hold water because Tamil literature doesn’t just have ‘serious’ and ‘deep’ books. It has a humongous repository of pulp fiction. For every intense work like Pa Singaram’s Puyalilae Oru Thoni, there’s one gripping page-turner like Sujatha’s Ratham Orae Niram or Rajkumar’s Kaatrin Niram Karuppu. Thus, it is dumbfounding when stars complain about the paucity of good stories from filmmakers. However, novel adaptations in Tamil are not entirely nonexistent. It is an age-old phenomenon. Films like Jayakanthan’s Unnaipol Oruvan (which received a National Award in 1965), Rajinikanth ’s Priya (1978), Karaiyellam Shenbagapoo (1981), and Kamal Haasan ’s Vikram (1986) are some of the notable examples. Yet, these are just flashes in the pan. A sustained trend of film adaptations hasn’t happened in contemporary Tamil cinema. But filmmaker Vetri Maaran seems to be giving some hope. The National Award-winning filmmaker has so far directed five feature films of which two are adaptations of Tamil novels. His upcoming films Viduthalai and Vaadivasal are also based on Tamil literary works, which makes Vetri Maaran, a vital link between Tamil literature and cinema. Not just that, he has also cracked the formula of using serious literature for making commercial films. Literature and Vetri Maaran The relationship between literature and Vetri Maaran should have begun way early in his childhood as his mom Megala Chitravel is a noted Tamil novelist. On top of that, the director also studied English literature at Loyola College, Chennai. When he wanted to work with his mentor, prolific filmmaker Balu Mahendra, it was his knowledge of literature that aided him to get the opportunity. In an interview with Tamil magazine Anandha Vikatan, Vetri Maaran shared that Balu Mahendra asked him to come up with a synopsis for a novel as part of his interview process for the assistant director role. Though only his third film, Visaaranai (National Award-winning film and official Indian entry to the 89th Academy Awards for Best Foreign Language Film) turned out to be his first adaptation, one can see that his tryst with written words has been an integral part of his journey. Making literature mainstream One of the criticisms against Asuran, Vetri Maaran’s film adaptation of Poomani’s Vekkai (Heat), is that the story was commercialised and unfaithful to the source material. Yet, his mainstream treatment of the novel is what contributed to the film’s commercial success. Vetri Maaran gave a ‘Baasha’ twist to Poomani’s novel, which turned the layered novel into a story of an underdog. Vekkai is about Sivasamy and his 15-year-old son Chidambaram, who are on the run from the police after the latter kills an upper caste man Vadakooran to avenge the murder of his elder brother. As the dad and son spend around eight days in the forest hiding, the story of oppression and caste politics unfolds. The novel is devoid of heroism and deals with everyday people and their excruciating pain. Vetri Maaran made a significant change in his film by making Sivasamy the ‘hero’ of the film, while in the book, Chidambaram is the ‘protagonist’. Also, Dhanush ’s Sivasamy is an entirely different person from the one we find in Poomani’s book. In addition, the entire backstory of Sivasamy, which depicts him as a rebellious young man, is absent in the novel. This made Dhanush’s Sivasamy a familiar trope of mainstream cinema – a man with a violent past. This vital change made the film accessible to all sections of the audience. However, critics of Vetri Maaran are also not wrong. A faithful remake of the film aided by Vetri’s brilliant cinematic language would have yielded a far better cinema, but it would have been a gamble when it comes to the business aspect of the film. One should only look at Vetri Maaran’s attempts as a small step in the right direction. Challenges ahead with Vaadivasal I am looking forward to seeing what he does with CS Chellapa’s novella Vaadivasal. The story of the novel doesn’t have enough meat for a typical Tamil feature film as it is just a story of events happening in one day at a Jallikattu event. A guy named Picchi arrives at a neighbouring village for the jallikattu event. He wants to tame the frightening bull named Kaari, which killed Picchi’s father years ago. That’s all there is to the story of the novella. Yet, it stands as a brilliant literary piece for its dialect and the depiction of caste politics in the sport of jallikattu. It would make up for a great cinema if Vetri Maaran recreates everything faithfully on screen. Yet, I wouldn’t be surprised if the director opts for an entire flashback portion for Picchi’s father (Reports, already suggest that Suriya is playing a dual role in the film).  Despite the commercialisation, such adaptations continue to sustain the importance of literature. I mean without the film adaptations, the mainstream would have remained unaware of these literary gems. Keeping Vijayanagara Empire alive: What it takes to conserve Hampi Subscriber Only How a group of doctors are fighting for justice, minus Subscriber Only ISRO finalises design of skull for humanoid on Gaganyaan mission Subscriber Only UPSC Key | Unified Lending Interface, Gaganyaan mission Subscriber Only How the lid was blown off a murder disguised as Subscriber Only In 9 years, Govt got 1,084 complaints of fake caste Subscriber Only All you need to know about Milind Soman’s doable fitness Subscriber Only Ronaldo’s YouTube channel: Another foray into self-celebration Subscriber Only Lateral entry to Waqf: Need for Modi govt to keep Subscriber Only Trump or Harris, US-India relations must continue on an upward Subscriber Only ‘India is influencing world affairs… Its role is bigger than Subscriber Only 'Operation Bhediya' launched in Bahraich after seven children killed in wolf attacks. Forest Minister assures residents of safety, deploys 16 teams and grants tranquilizing permission. Enhanced security measures including drone mapping and night patrolling implemented by district administration to prevent future attacks. More Entertainment Best of Express Aug 28: Latest News 01 Meta to close augmented reality studio used by third-party 02 Why Jay Shah’s tenure as ICC chief is critical for cricket’s global leap 03 Traffic police imposes fines totalling over 1.05 crore for traffic violation on Janmashtami 04 Shivaji statue sculptor booked on attempt to murder charge 05 Chinese govt backed hackers exploit bug to compromise internet companies, cybersecurity firm claims Elections 2024 Political Pulse Entertainment Movie Review Newsletters Web Stories 🇮🇳 I-Day SALE Express Shorts Mini Crossword Health & Wellness Voice speed Text translation, source text, translation results, document translation, drag and drop. Website translation Enter a URL Image translation Power List 2024 Cannes 2024 In-Depth Stories Web Stories Oscars 2024 FC Wrap 2023 Film Festivals FC Adda 2023 Companion Zone Best Indian Films Forever List FC Front Row FC Disruptors Mental Health & Wellness Ranking Vetrimaaran Films — From Polladhavan to Viduthalai Part 1 Ranking Vetrimaaran’s films — excluding the short films he made — can feel like picking a winner from a competition of despair. And yet, because of the artistry, his films end up challenging his own filmography; building on his flaws, adopting newer visual languages to express older tropes of a violent world.  Beginning with Polladhavan (2007), his films increasingly hold you in a brusque, violent, and breathless chokehold. Visaranai (2016), his third and most celebrated film, which was even sent to the Academy Awards as India’s nomination, is best described as a relentless marathon of brutality. Every time you think the film has let go, like steam released from a pressure cooker, the plot tightens into lashings and screams. That none of this violence feels gratuitous is because of how normal violence feels in the world Vetrimaaran creates on screen. When characters die, they just do. When they are violated, they just are. Is this violence repetitive? Yes. But does it feel repetitive? No, because his films are not hinged on stylized violence. He doesn’t need to find innovative ways to stage it, since his films are about the contexts in which violence begins to feel like an everyday phenomenon — brutal but, like air, everywhere. It is these contexts that keep changing — from Madurai to Vada Chennai (North Chennai), Andhra Pradesh to the forested hills of Tamil Nadu — and the violence remains unsettlingly natural to all of them.  6) Polladhavan (2007) The opening credit of “non-linear editor”, the voiceover narration, and the opening shot yanking you into a flashback in Polladhavan — Vetrimaaran’s debut film is preoccupied with time flipping over itself, bending, contorting, staring at a bloody present and then tracing backwards to how we reached this bloodbath. The film follows the fallout after its happy-go-lucky protagonist Prabhu (Dhanush) loses his bike, and comes in contact with first an insecure underworld and then the inefficient blackhole of the police station.  There is a visual recklessness, almost a disenchantment with stillness in the film. When the image does become still, it is usually like a jerk — either a photograph or a forceful pausing of the frame. Here is a director who refuses to be bound by conventional framing and narrative. He will bung in two narrative voiceovers — what Preston Sturgess called “narratage”. He will place the camera between two vessels on the gas, the foreground of coffee being flipped from tumbler to tumbler, with Prabhu entering from behind.  Polladhavan is dated in the sense that you see a director struggling with his style and the template that he wants to both tap into and wreck open — the grating dream songs of love and amorous celebration in a disco, for example. Vetrimaaran himself said in an interview with Film Companion , “From Polladhavan , I learnt I should never make a film like that.” 5) Aadukalam (2011)  We begin in the present, but return to it only in the last half hour of this film. Karuppu (Dhanush) is a masterful cockfighter, but the Othello-like machinations of jealousy lead his mentor (played by V.I.S. Jayapalan) to exact violence by slowly chipping away at Karuppu’s reputation through gossip and cross-speak. And yet, as Karuppu’s fortunes balloon, his love for his mentor is never challenged. His mentor’s rejection of him never translates to Karuppu’s resentment. It is the kind of mythological devotion Ekalavya showered on Drona — one incapable of rancour. Blind love, as director Vetrimaaran notes in an interview with Film Companion , can be most dangerous. The “centrepiece” — where Karuppu has to make his cock fight, not once, but thrice in the dust-flung competition,— is a grunting, unending tapestry of tension. It cemented Vetrimaaran as a director with a vision that drew from the well of Cine Madurai violence while cutting against it, stamping his distinct visual style, his trademark panting exposition in the beginning and his casual irreverence towards heroism. In the first “action scene” Karuppu is given, the camera is static, staring at the fight like a spectator, watching as Dhanush’s lithe frame tries to pummel the goons. Aadukalam ends with Karuppu escaping the scene with his Anglo-Indian lover (Taapsee Pannu), not wanting to explain himself to those who have misunderstood  him or been manipulated into believing incorrect things about him. It’s a rare, mature narrative closing that shows a protagonist who is okay being thought of as wrong, even though he was wronged. If that means keeping the memory of his mentor — who orchestrated the manipulation — unsullied, so be it.  4) Visaranai (2015) Visaranai felt like an aesthetic sharp-turn for Vetrimaaran, showing us that as a director, he is capable of patient storytelling, linear storylines; neat, spare flashbacks, that unfold at the pace of life, without sizzling it up or slurring it down. The only throbbing background score in the film is that of ominous rain and crickets. Perhaps, because the film is based on events that are true and shocking, Visaranai looks as though it is “captured” and not “shot” as a film (look at these violent words used to describe cinema). It does not even have that “centrepiece” moment of bloodshed that Vetrimaaran usually places carefully somewhere in the middle. It does not need it. The film, based on accounts of police custodial violence — first in Andhra Pradesh to poor Tamil Nadu migrants, then in Tamil Nadu to a white collar auditor — yanked from M. Chandrakumar’s novel Lock Up , is brimming with blood. The centrepiece, if anything, is that moment of quiet, of silence, of hope, that comes in little snatches before it is pulled away.  The cinematic virtue of this film is its relentless violence which never feels gratuitous. What differentiates one from another? Here is violence treated as life — without drama, without emphasis. A rare restraint that nonetheless produces horror unlike in another film — by Vetrimaaran or anyone else.  3) Vada Chennai (2018) With Vada Chennai , Vetrimaaran returns to the titular North Chennai where he shot his debut film. This time, however, there is more blood, more history, and more politics, and a richer, denser world full of human foibles and fumbles. The detailing is more vivid — like prisoners snorting lizard tails to get high. The violence is more structural — it telescopes its attention on a neighbourhood over time, not a group of friends like in Visaranai .   Like Aadukalam , Vada Chennai starts with bloodshed, which it returns to in the last half-hour. Unlike Aadukalam, this structure feels perfunctory, because the beginning is almost forgotten in the blitzkrieg of rat-a-tat action centred around Anbu (Dhanush), a sincere carrom player, who gets caught in the crossfire of a gang war that he further curdles and erupts.  This is a hypnotic movie, moving across time, back and forth, sometimes a flashback within a flashback. If you pause the film, turn and ask what year the events are taking place, it takes a moment because of how much is churning in the story. The death of M.G. Ramachandran and Rajiv Gandhi are used as temporal walking sticks to help us wade through the film. The original cut for Vada Chennai was 5.5 hours long, and the reason we feel scenes end abruptly with moments often collapsing as they begin, is because of the unsparing edit to bring it down to 2.5 hours. The action, the relentless throw of context, dialogue, and exposition, keeps you afloat, as though you were being swept away in an furiously rushing river.  What sets Vada Chennai apart is not just Anbu as an ambivalent hero who is swept into heroism by circumstances, but a hero who is unsure of who is right and who is wrong. He expresses this moral dilemma to his wife in a moving scene. There is a sense that if this film was narrated from another perspective, it might easily flip the moral labels we have slapped on characters. That a film allows its characters this latitude is a triumph of an expanded, exploded imagination — both moral and literary.  2) Asuran (2019) Both Vada Chennai and Asuran are, perhaps, the most cinematic of Vetrimaaran’s films — with a slow-motion pay-off that belongs to the masala template, lodged comfortably alongside the various Vetrimaaran-isms. Both insert their intermission after a rousing action sequence that disarms you with its style and emotional punch. However, while Vada Chennai is impatient in its storytelling — by narrative design and editorial desperation — Asuran digs deeper.  The first shot of the film, of a moon among milky clouds, crumples when feet are placed over it — we realise that we were seeing a reflection of the moon over still water, which is now being trampled over by escaping feet, that of Sivasaami (Dhanush) and his son Chidambaram (Ken Karunas). Chidambaram has just hacked the man who murdered his elder brother — an act of vengeance that dislocates his family, who are now fugitives.  Asuran perfects a lot of Vetrimaaran’s pursuits — the mass film without the mass conventions. There is no hero entry scene. There is, instead, the intermission block. There is no hip dangling love. There is, instead, trauma and affection. Humour does not exist, distilled in the form of a separate character, like a court jester. It is baked into the exchanges. There is no beauty, no polish. There is a harsh abruptness with which scenes transition. And yet, Asuran has packed in it the most potent scenes of grief and redemptive violence. It is Vetrimaaran allowing his films to char your heart, not just your senses. The second half gives the origin for Sivasaami’s docile nature, one that he has arrived at after a youth of bloodshed that left him orphaned and without love. This mirroring of the two halves is another beautiful Vetrimaaran-ism — from the slippers, to the heroism, to the tragedy that culminates in an escape. It is easy to dismiss this film as templated, but there is a reason templates have survived the onslaught of genre, taste, and time shifts. That it is predictable does not take away from what an artist can do with and within that predictability. Asuran is Vetrimaaran’s most emotionally staining — not draining, but staining — film; its violence lingering as hurt, not horror.  1) Viduthalai Part 1 (2023) In one sense, Viduthalai is the culminating artistic collaboration between Vetrimaaran and cinematographer Velraj, who has lensed all of Vetrimaaran’s films except Visaranai . The opening shot of around 10 minutes takes us, in one sweeping, single take, through the debris of a train bombing. The sheer audacity of the scene, the lubricated ease with which the camera slides, both vertically and horizontally, sets the stage for Kumeresan (Soori), a kind-hearted police officer who has been sent to the forested hills as part of a police force that is trying to weed out an extremist group. It invokes awe while depicting horror. The dense prologue, the unfussy heroism of Vetrimaaran are both here. The politics is just as long winded and stiff — like how Vada Chennai questioned development, here, too, the story hinges on how the state uses development as a cover for profiteering; the police, here, too, are brutal beasts. Love comes as a reprieve — both to the character and the narrative.  But what marks Viduthalai apart is how it makes violence seem so routine, Vetrimaaran isn’t even interested in sharpening it. There is a blunt relentlessness to it. It is not that the director can’t show violence that whips our moral sense of the world. It’s just impossible to fixate and linger on violence the way he did in the previous films. In Visaranai what was happening to a group of friends, in Asuran what was happening to a family, is, in Viduthalai happening to a whole movement of people. Vetrimaaran employs a disenchanted cutting away from these moments before their full impact is even felt, for the impact is not in its festering but in its unrelentingness. If you notice closely, these rankings are in the order of Vetrimaaran’s filmography, suggesting that, at least artistically, he seems to be streamlining ahead, a swift, sure motion away from where he first began.  Related Stories Vetrimaaran IMDbPro Starmeter See rank Contact info 20 wins & 12 nominations Writer (as Vetri Maaran) In Production Pre-production producer (as Vetri Maaran) screenplay (as Vetri Maaran) original story (as Vetri Maaran) Director (as Vetri Maaran) In-development projects at IMDbPro Personal details Vetri Maaran September 4 , 1975 Cuddalore, Tamilnadu, India Poonthendral Parents V Chitravel Related news Contribute to this page. Learn more about contributing More to explore Recently viewed. 402 IMAGES Vetrimaran Tamil Typography :: Behance 100+ Stylish Names In Tamil With Meanings & Sounds Sasikumar acting in vetrimaran direction/ Thala ajith name in valimai tamil male baby names Girl baby names in tamil Tamil Baby Girl Names And Meanings Baby Names All, 57% OFF COMMENTS Vetrimaran Name Meaning, Origin, Boy Names Like Vetrimaran Here we show you the Meaning of the Vetrimaran Baby Name in tamil which starts with the Letter 'V' above table. This Cute Tamil Baby Name is suitable for the kids who born in Rohini natchathiram. Kid who have this Attractive latest name may have the following characteristics like practical, hard worker, self-disciplined, trustworthy, construction வெற்றிமாறன் வெற்றிமாறன் (Vetrimaaran) ஒரு தமிழ்த் திரைப்பட இயக்குநர் ஆவார். இவரது ... What Does The Name Vetrimaran Mean? A user from India says the name Vetrimaran is of Hindu origin and means "pandian old king family names". A user from India says the name Vetrimaran means "Monarch". A user from Ireland says the name Vetrimaran is of Tamil origin and means "Successful man". Search for more names by meaning . Vetrimaaran Name Meaning, Origin, Boy Names Like Vetrimaaran What is the meaning of the name Vetrimaaran? Here we show you the Meaning of the Vetrimaaran Baby Name in tamil which starts with the Letter 'V' above table. This Cute Tamil Baby Name is suitable for the kids who born in Rohini natchathiram. Vetrimaaran Vetrimaaran (born 4 September 1975) is an Indian film director, film producer and screenwriter who primarily works in Tamil cinema.He is known for his unique filmography with major commercial success and high critical acclaim works. He has won five National Film Awards, three Filmfare South Awards and one Tamil Nadu State Film Award.. Vetrimaaran made his directorial debut with Polladhavan (2007). Vetrimaaran Vetrimaaran is a unique and powerful name of Tamil origin, meaning "arrow of victory." Primarily used in South India, particularly in Tamil Nadu, it is considered a masculine name. It holds cultural and historical significance, reflecting the strength and bravery of warriors in Tamil history. The name is associated with a renowned Indian ... Vetrimaran Detail view of baby name Vetrimaran ... Baby Names. Boy Names Girl Names Pure Tamil Names Modern Tamil Names Astrological Names Hindu Names Muslim Names Christian Names Religious Names Cine star Names more... Name Lists; My Names; ... Vetrimaran rating: Meaning. Gender: Male: Number: 31: Total: 4: Lucky Color(s) Grey, Blue: Natchathiram: Karthikai: Vetrimaaran Name Meaning, About Tamil Boy Name Vetrimaaran Vetrimaaran is Tamil Boy name and meaning of this name is "TBD". Based on numerology value 5, Vetrimaaran is Growth oriented, strong, visionary, adventurous, spendthrift, freedom loving, restless, spiritual, Adventurous, Energetic, Curious, Visionary, Magnetic, Expansive.Below is some points about the name Vetrimaaran based on numerology value - Vetrimaran , வெற்றிமாறன் Baby name, boy baby name, girl baby name Vetrimaran , வெற்றிமாறன் Baby name, boy baby name, girl baby name, hindu name, christian name, muslim name வெற்றிமாறன் பயோடேட்டா வெற்றிமாறன் பயோடேட்டா - Read Vetrimaran Biography in Tamil including all important information about Vetrimaran education ... Director Vetrimaran Wiki, Biography, Age, Gallery, Spouse and more Name; Real Name: Vetrimaran: Name: Vetrimaran: Career; Major Profession: Director: Other Professions: Director, Producer, Story Writer, Screenplay Writer: Debut: Polladhavan: ... Aadukalam National Film Award for Best Screenplay in 2011 - Aadukalam Filmfare Award for Best Tamil Director in 2011 - Aadukalam SIIMA Award for Best Director in 2011 ... Why Vetrimaaran is the most interesting director in Tamil films today 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 ... Name Vetrimaran Other names similar to Vetrimaran Tamilvanan means The One who is Very Intelligent in Tamil Language is principally used in Tamil is used for boys; Karthigai - Karthigai's meaning is November or God Murugan Karthikeyan aimed at girls is used predominantly in Tamil; Methusha - Girl name Methusha is used notably in Tamil, meaning of Methusha is "Soft One" ... Vetrimaaran Biography, Age, Height, Wife, Children, Family, Caste, Wiki National Award Winner, Ace Tamil Film Director, Vetrimaaran was born on 4th September 1975 in a small town called Cuddalore in Tamilnadu, India. The Grim Movie maker has made India proud with his Film Visaranai becoming the official entry at Oscars in Foreign Film Category. Every Vetrimaaran Movie Ranked and Where to Watch Them There are 6 titles in this list and you can watch 1 of them on Zee5. 4 other streaming services also have titles available to stream today. 1 Title. 1 Title. 1 Title. 1 Title. 1 Title. From political thrillers like Viduthalai to revenge dramas like Asuran, here's where to stream the best Tamil movies directed by Vetrimaaran. Vetrimaaran : Biography, Age, Movies, Family, Photos, Latest News 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 ... Vetrimaaran Vetrimaaran is an Indian film director, screenwriter and film producer working in the Tamil film industry. His works, predominantly social issue dramas and action crime films, have been acclaimed for their gritty realism and scope. He is the recipient of five National Film Awards, eight Ananda Vikatan Cinema Awards, two Filmfare South Awards and the Amnesty International Italia Award from 72nd ... Vetri Maaran: A vital link between Tamil cinema and literature The National Award-winning filmmaker has so far directed five feature films of which two are adaptations of Tamil novels. His upcoming films Viduthalai and Vaadivasal are also based on Tamil literary works, which makes Vetri Maaran, a vital link between Tamil literature and cinema. Not just that, he has also cracked the formula of using serious literature for making commercial films. Google Translate Google's service, offered free of charge, instantly translates words, phrases, and web pages between English and over 100 other languages. Ranking Vetrimaaran Films 1) Viduthalai Part 1 (2023) In one sense, Viduthalai is the culminating artistic collaboration between Vetrimaaran and cinematographer Velraj, who has lensed all of Vetrimaaran's films except Visaranai.The opening shot of around 10 minutes takes us, in one sweeping, single take, through the debris of a train bombing. The sheer audacity of the scene, the lubricated ease with which the camera ... Vetrimaaran Vetrimaaran. Writer: Asuran. 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 ... What Does The Name Vetrimaaran Mean? How unique is the name Vetrimaaran? Out of 6,504,161 records in the U.S. Social Security Administration public data, the first name Vetrimaaran was not present. It is possible the name you are searching has less than five occurrences per year. Weird things about the name Vetrimaaran: The name spelled backwards is Naraamirtev. Vetrimaaran and Suriya's 'Vaadivaasal' sets a new benchmark When veteran Tamil writer Ci. Su. Chellappa (1912-1998) published Vaadivaasal , a novella centred on jallikattu in 1959, he priced it at one rupee and even gave it free to subscribers of his ... catamaran gulet motorboat powerboat riverboat sailboat trimaran yacht