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The film starts with the abducting of a couple of people and the capture of Dr Maaran (Vijay), who, the examining officer Rathnavel (Sathyaraj) accepts is the driving force. As he grills the specialist on why he let himself get caught, he discovers that it is really Vetri (Vijay) , an entertainer – and a clone of Maaran – who has carried out these violations. How is Vetri associated with Maaran and what does he need?
Removing a leaf from his master Shankar’s playbook, and a considerable measure of motivation from masala motion pictures of the yesteryears (from MGR’s double part films like Kudiyirundha Koyil and Neerum Neruppum to triple-part films like Rajinikanth’s Moondru Mugam and Kamal Haasan’s Apoorva Sagotharargal), Atlee has given us a completely fulfilling mass-legend film. What’s more, his choice to expedite board Vijayendra Prasad, the author of Rajamouli’s movies, is a masterstroke (Atlee and Ramanagiri Vasan, who has composed the exchanges, are the co-essayist). The fingerprints of the Baahubali author can be found in numerous scenes – like in the scene in the flashback partition, where Thalapathy (Vijay), the father of Vetri and Maaran, needs to spare individuals caught in a fire. Thalapathy cuts down a goliath wheel without any assistance, and it feels like a gesture to Baahubali, where Prabhas prevents a gigantic statue from tumbling down. There is likewise another particular Baahubali minute where a tyke raises its hand even as its dad goes down promising the hands of his kin will raise up.