His combination with Gounda Mani in many movies is devastatingly funny.
His 'Amaidhippadai' is a classic example of his ability to arrest the audience with his carefree speech delivered in an elegant manner. Even as a villain, Sathyaraj had a taste for 'naiyyandi' and his 'lollu' is matched by only a few. There were a few heroes who were capable of tickling the funny bone. He should be more judicious in choosing the comedy script, or else it will be only a matter of time before he falls down. But for every good sketch of his, there are probably five or six bad ones, where he just tries very hard to get the viewers to giggle. The cinema industry was badly in need of a comedian who would speak native accent with ease and the arrival of Vadivelu's 'Winner' established him firmly in the hearts of the rural population. It's been a fabulous journey for him since 'En Rasavin Manasule' where he appeared as a village commoner with nothing much to do through 'Devar Magan' where he actually played a good role to 'Winner' where he is almost the hero with Prashanth playing a subdued role. I like Vadivelu, mostly because of his dialogue delivery and humility. He has cast his spell on the village population that they start laughing when he appears on the screen.
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He demands sums that ageing heroes like Arjun or Prabhu can only dream of and movie schedules are rearranged as per his availability. And it's important that he bounces back because there's nobody else doing a job as good as he used to do. I hope 'Sivaji' will be a resurgence for him. He recently tried to be a lead in a movie, which did poorly at the box office and since then he has had a slump. He has a great sense of timing and can conceive witty situations which lead him into troubled waters. His sketches in 'Minnale', 'Run' and 'Dhool' are standout shows and I wouldn't be exaggerating I said that a sizeable part of the revenue for those movies was because of his sketches. But I don't think it went down well with the masses and he switched gears and jumped into pure fun. There was a short period of time when Vivek tried educating the masses in his brief screentime and was aptly called 'chinna kalaivanar'. While Vivek caters to the urban youth, mostly appearing as a friend of the city-bred hero, Vadivelu appeals to the semi-urban and rural areas donning various roles ranging from a teamaster to an autodriver. Popular comedians of this generation are Vivek and Vadivelu - they both have a strong demarcation in their fans' tastes. But Senthil didn't shine when he stood alone - he always added value as a parasite getting kicked in the ass by Goundamani. Senthil added value when with Goundamani with his innocent looks and a decevingly 'enquiring mind' to which the latter would always fall. Be it 'Vaidehi Kathirundhal' or 'Karagattakaran' they literally had the theatres in B and C centres rolling in laughter. In his peak in the eighties and early nineties, he entertained everyone with his partner Senthil. In the past five or six years, his health has deteriorated and with that his voice and thespian skills and now he rarely appears on the screen. My favourite sketch of his is with Rajini in 'Mannan' and with Kamal in 'Indian'. He is probably the only artiste who proudly exhibited his trademark irreverence - be it the villain or the hero or his mother or his neighbour or an old man, he treated them all equally - with a sharp disrespect. In a span of one or two years, I began enjoying him and turned from a despiser to an ardent fan. I didn't particularly like him until I was 15 or 16 when I thought of him as a sound actor - whatever it was, he just yelled using an inventive curse word like 'kadal panni' or 'nandu thalaiya' and people laughed for it. My comedy star is Goundar Mani (or Gounda Mani). But we had our own style in making people laugh - and this time it was the artistes themselves who shouldered a big chunk of the responsibility of entertaining the audience and the smaller piece of pie lay with the comedy script writers. What makes an American laugh cannot be applicable to a Tamilian. Starting with camera movements, lighting arrangements, story narration, plot structures, stunts - our experiments here seemed to follow a success at Hollywood or else where. Of course, with the passage of time, our writers, technicians and directors progressed in all aspects of movie-making, but the differences can be directly traced to American or European trends. Movies in colour feature comedy sketches that are far more evolved than the ones in black & white.
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