‘Saripodha Sanivaram’ movie review: – The Hindu

Nani in ‘Saripodha Sanivaram’ | Photo Credit: Special Arrangement

In a scene from the Telugu action drama Saripodha Sanivaram ,Saturday of the Sun (in other languages), written and directed by Vivek AthreyaA man at the mercy of a cruel circle inspector pleads to be let off, saying he has two children to look after. What happens in the next few minutes in this film? Maternal grandmother, SJ Surya And Priyanka Arul Mohan This is an example of why this film is different from the usual movies. The cop asks for more information and finds out what kind of relationship the man has with his two sons. What he says immediately after gives us insight into the cop’s past and the context of his twisted personality. In a film with less subtlety, the man begging for mercy would have been a common, often-overlooked scene. The sharp writing and attention to detail make it even better. Saripodha… By moving away from a routine cautionary tale and removing the clichés, the play has been made entertaining.

Its wider story Saripodha Sanivaram It is the story of Surya (Nani), who lives a simple life as an insurance agent from Monday to Friday, and vents his anger on Saturday. His obsession with Saturday has a back story. When he sees injustice, he does not ignore it. He waits for his time and sets everything right on Saturday. In no time he meets police officer Dayanand (SJ Surya), who vents his anger on the helpless people of the fictional locality Sokulapalem. The romance between Surya and newly appointed police officer Charulatha (Priyanka Arul Mohan) adds another mystery to this battle.

The film has all the ingredients of a mainstream action entertainer – the introduction of a hero, explosive action sequences, a formidable antagonist and a power struggle of good versus evil. For the first time in action drama, Vivek brings his special abilities – the knack of giving a certain twist to most of his characters, subtly reinforcing a healthy gender equation and not taking the audience for granted – all of which make a difference.

The 175-minute film is divided into chapters – prologue, twist, knot, crossroads, hide and seek and liberation. Anger pervades the story as a mood. The portions featuring Abhirami as the mother carry the story forward. It is easy to understand where Surya’s sense of social justice comes from. Stubbornness runs in the family, especially with sister Bhadra (Aditi Balan), while father Shankaram (Sai ​​Kumar) tries to maintain balance in the family.

Just as Surya’s world has been well established with subplots explaining his personal relationships and the impact of his anger on others who come his way, a lot of thought has been put into building the antagonist’s world as well. The reason for Dayanand’s unreasonable anger and his relationship with his brother Kurmanand (Murali Sharma), laced with dark humour, sets the stage for the story ahead.

Compared to the heavy-handed stories that define the hero and the villain, Charulata’s characterization may seem less interesting. But her character, despite being weak and comparatively docile, drives the narrative forward.

There are many important moments in the film, which are portrayed with superb music by Jakes Bejoy and intense lyrics by Murali G. The use of the red dupatta and the repeated use of red for anger are welcome additions. Perhaps the name Surya, the dupatta as a reminder of the mother, her anger and Surya’s girlfriend who does not want violence and confrontation are subtle hints towards Mani Ratnam. ThalapathiThis possibility cannot be ruled out, as Vivek Athreya and Nani are fans of the filmmaker. In the beginning, a young mother and her child are shown sitting on a wooden log on a sandy beach, which can also be interpreted as a subconscious gesture. Kannathil Muthamittal,

Saripodha Sanivaram The film, packed with characters played by Murali Sharma, Ajay, Ajay Ghosh, Harshvardhan, Jeevan Kumar and others, makes its presence felt. In one scene, a mother teaches a girl to cook, but gently tells her to treat it like another skill and not confine herself to the kitchen when she grows up. A sister who doesn’t give in easily knows when to take a different approach. A father who cooks, cleans and lavishes love on his children also gets his ‘mas’ moments. The hero, matter-of-factly, rides in the backseat while the woman takes charge. Abhirami brings a quiet dignity to her role; Sai Kumar is certainly solid as the father. Vishnu Ooi, however, could have been used better.

Again, there are the fine details that are used at the right time for twists and turns. Focus on a young boy and his sense of timing. Also focus on a character and his ‘wrong decisions’. There is a lot to enjoy. The underlying humour, even during major conflicts, increases the entertainment quotient without reducing the tension. Meta references Eiga Coordinated with the proceedings as well.

If there is any complaint, it is related to the climax part. The film tries its best not to portray its hero as a savior. The emphasis is on people standing up for themselves. The context of Krishna-Satyabhama and Narakasura is beautifully reinterpreted at this juncture. However, this part could have been written better.

The writing is the backbone of the film and it is made even better by SJ Suryah’s effortlessly charming performance as the mad and always reliable Nani, with his cool, controlled anger. Suryah gets some great scenes and dialogues and his very presence brings out his dangerous attitude. Nani’s performance is more balanced, switching between the man next door and a vigilante hero who is also emotionally relatable.

Saripodha Sanivaram This is what we get when great writing brings an old vigilante drama to life. It is entertaining for the most part with some interesting segments.