vetrimaran meaning in marathi

आवाजाचा वेग

मजकूर भाषांतर, स्रोत मजकूर, भाषांतर परिणाम, दस्तऐवज भाषांतर, ड्रॅग करून ड्रॉप करा.

वेबसाइटचे भाषांतर

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September 04, 2024

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

Updated On : October 7, 2019

Vetrimaaran

Film director.

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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

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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

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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. 

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Veteran meaning in Marathi | सोपा अर्थ मराठीत | Indian Dictionary

Veteran meaning in Marathi : या लेखात इंग्रजी शब्द ‘Veteran’ चा अर्थ सोप्या मराठी भाषे मधे उदहारणा सहित समजावून सांगितला गेला आहे. त्याच बरोबर याचे समानार्थी (Synonym) आणी विरुद्धार्थी शब्द (Antonym) सुद्धा दीले गेले आहेत.

‘Veteran’ चा उच्चार= वेटरन, वेट्रन   

Veteran meaning in Marathi

1. ‘Veteran’ म्हणजे एखाद्या क्षेत्रात दीर्घकाळ काम केल्यामुळे त्या क्षेत्रात दीर्घ अनुभव असणारी अनुभवी व्यक्ती.

2. असा एक व्यक्ती ज्याने सशस्त्र दलात सेवा केली आहे आणि ज्याला शक्यतो लढाईचा अनुभव आहे, असा अनुभवी सैनिक किंवा वृद्ध सैनिक.

Veteran-Example

‘Veteran’ शब्द एक noun (संज्ञा, नाम) आहे.

‘Veteran’ याचे plural noun (अनेकवचनी नाम) Veteran’s आहे.

‘Veteran’ आणी Veteran’s या शब्दाचा वापर करुन तयार केलेली वाक्ये (Sentences) खालीलप्रमाणे आहेत.

English: He is one of the surviving veterans of the India and Pakistan Kargil war. Marathi: ते भारत आणि पाकिस्तान कारगिल युद्धातील हयात असलेल्या दिग्गजांपैकी एक आहेत.

English: He is a veteran politician so everybody respects him. Marathi: तो एक अनुभवी राजकारणी आहे त्यामुळे प्रत्येकजण त्याचा आदर करतो.

English: He is a veteran cricketer and gives training to young cricketers. Marathi: तो एक अनुभवी क्रिकेटपटू आहे आणि युवा क्रिकेटपटूंना प्रशिक्षण देतो.

English: He is a veteran actor but nobody gives him work now. Marathi: तो एक अनुभवी अभिनेता आहे पण त्याला आता कोणीही काम देत नाही.

English: My brother is a veteran of the second world war. Marathi: माझा भाऊ द्वितीय विश्वयुद्धातील अनुभवी सैनिक आहे.

English: He is a veteran entrepreneur and gives advice to new businessmen. Marathi: तो एक अनुभवी उद्योजक आहे आणि नवीन व्यावसायिकांना सल्ला देतो.

English: As a veteran doctor, I always help young doctors. Marathi: एक अनुभवी डॉक्टर म्हणून, मी नेहमीच तरुण डॉक्टरांना मदत करतो.

English: I am a proud Indian Veteran, though I’m retired now. Marathi: मी एक अभिमानी भारतीय अनुभवी सैनिक आहे जरी मी आता निवृत्त झालो आहे.

English: The new football team gave tough competition to the veteran’s football team. Marathi: नवीन फुटबॉल संघाने दिग्गज फुटबॉल संघाला एक कठीण स्पर्धा दिली.

English: As a veteran teacher, he was selected as a principal of the school. Marathi: अनुभवी शिक्षक म्हणून त्यांची शाळेचे मुख्याध्यापक म्हणून निवड झाली.

‘Veteran’ चे इतर अर्थ

army veteran- सैन्यातील अनुभवी

veteran doctor- अनुभवी डॉक्टर

veteran journalist- ज्येष्ठ पत्रकार

veteran day- अनुभवी दिवस

veteran bores- कंटाळवाणा वृद्ध

veteran girl- अनुभवी मुलगी

veteran teacher- अनुभवी शिक्षक

veteran employee- अनुभवी कर्मचारी

protected veteran- संरक्षित दिग्गज, संरक्षित अनुभवी

veteran actor- ज्येष्ठ अभिनेते, अनुभवी अभिनेता

veteran status- अनुभवी स्थिती

veteran player- अनुभवी खेळाडू

veterinary- पशुवैद्यकीय, पशुवैद्य

war veteran- युद्धातील अनुभवी

are you a veteran- तुम्ही निवृत्त सैनिक आहात का?, तू एक अनुभवी आहेस का?

non-veteran- अनुभवी नाही

atomic veteran- परमाणु अनुभवी, अणु अनुभवी

veteran singer- ज्येष्ठ गायक

happy veterans day- निवृत्त सैनिक दिवसाच्या शुभेच्छा

veteran Gandhian- ज्येष्ठ गांधीवादी

veterans affairs- दिग्गजांचे व्यवहार

veterans administration- दिग्गज प्रशासन, अनुभवी प्रशासन

I am not a protected veteran- मी संरक्षित अनुभवी वयोवृद्ध नाही

I am a protected veteran- मी एक संरक्षित अनुभवी आहे

‘Veteran’ Synonyms-antonyms

‘Veteran’ चे समानार्थी (Synonyms) शब्द या प्रकारे आहेत.

 ‘Veteran’ चे विरुद्धार्थी (Antonyms) शब्द या प्रकारे आहेत.

Dr. Rajesh Sharma is a Hindi language expert with over 10 years of experience and a Ph.D. in Hindi Literature from Delhi University . He is dedicated to promoting the richness of Hindi through his well-researched articles on meaninginnhindi.com . Follow Dr. Sharma on Instagram @hindi_adhyapak , where he shares insights with his 121K followers.

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On Vetri Maaran’s 46th birthday, his five tips for becoming a filmmaker

So how does Vetri Maaran strike a fine balance between art and commerce? Hear it from the man himself.

National Award-winning filmmaker Vetri Maaran, who is celebrating his 46th birthday on Saturday, is one of the new formidable voices in Tamil cinema. A disciple of iconic director Balu Mahendra, Vetri Maaran has succeeded where his mentor didn’t. While Balu Mahendra was a revered filmmaker who made some high-quality movies, he doesn’t have many box office hits to his credits. However, Vetri Maaran is one of the most commercially successful filmmakers today.

Vetri Maaran’s last film Asuran, starring his regular star Dhanush , had grossed a whopping Rs 100 crore at the box office. It is no mean feat for a filmmaker who usually makes emotionally heavy movies, which don’t follow the established grammar of commercial cinema.

Write, write, write

“Filmmaking is writing. Keep writing scripts over and over again. I have the liberty to make a movie without writing. But, I am not sure how long I can keep doing that. It is like Sehwag hitting sixes without footwork. If you lose the form, you can’t gain it back. So, we should play like Dravid. If you have your basics right, even when you are out of form, you can still deliver what you aspire for. Everybody should write. People tell me that they get stuck in the middle and can’t complete their scripts. Somehow, you should finish the script you start. The most gratifying feeling for a scriptwriter is when that person writes ‘The End’ on the script. Right or wrong, finish the script. And you should rewrite the story at least 10 times and share it with your friends for their opinion. Write, re-write, and forget. Do something else, go back to the script and write again. Writing is the alpha and omega (of filmmaking).”

Finding great stories

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Vetri Maaran has shown a great interest in adapting Tamil literature for the big screen. His landmark films such as Visaranai and Asuran were based on Tamil novels. His upcoming films Viduthalai and Vaadivaasal are also based on existing literary materials. “Writing and cinema are two different mediums. Not all great novels have become great movies. But, some average novels have been turned into great movies. We should see whether a novel has a cinematic quality. For me, the main goal is to understand the world a novelist has created and convey the intentions of the novel in the same way as intended by the author.”

Job-satisfaction is important

“Balu Mahendra sir used to tell me that the only thing in our control is to make a movie to the best of our ability. But, the commercial success of the film is an accident. I give my 100 percent in everything I do and I also make my team do the same while making a movie. If the audience connects to the film, we are happy with it. But, we should always have full satisfaction in the job we have done.”

Location, location, location

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In Vetri Maaran’s films, the location is a character in itself. And having a clear idea about the geography of the film and establishing it at the very beginning is key to a strong narration. “I can’t tell a story without establishing the geography of the story first. For example, I would have established the geography of the village in Aadukalam when Dhanush and his friends try to escape from the police raid at the beginning of the film.”

When you become a filmmaker

Vetri Maaran believes that a person stops experiencing his life as it is the moment he becomes a filmmaker. After he or she writes her first draft, everything and everyone becomes just an idea for the script. “Learn, experience, and debate. Watch a film, argue over it and repeat. The moment you start writing a script, you are closing yourself from life’s experiences. The End you put in the first script is also the end to your life’s experiences. From then on everything becomes a source to your script. My wife used to tell me, that ‘I won’t cry, because you will turn it into a scene in your film.’ Even before she points it out, I would have kept it as a scene in the film.”

Harvinder Singh, a para archer from India, made history at the Paris Paralympics 2024 by winning gold in the Men's Individual Recurve Open event. He saved his best for last, shooting 10s under immense pressure in the final against Poland's Lukasz Ciszek.

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