Sarpatta Parambrai
Director: Pa Ranjitho
Cast: Arya, Pashupati, John Vijay, Shabir Kallarakkal, Dussehra Vijayan, Shabir Kallarakkal
A perennial problem with sports movies is predictability. It never goes away, and we see it movie after movie. We knew who would ultimately win in Farhan Akhtar-starrer Toofan. We can easily predict the result in Chak De India; Why, women in the Indian hockey team! In Dangal, in a cricket match in Aamir Khan’s Lagaan. The list is endless, and pa. There is no doubt about the outcome of Sarpatta Parambrai, directed by Ranjith. The winner has to be the underdog played by Arya Kabilan, whose father was an ace boxer but ruined himself by picking up a sword. There is a memorable line in Toofan when the coach, played by Paresh Rawal, tells Akhtar’s character Aziz Ali that boxing is about defense, not aggression or violence. Kabilan’s boxing coach Rangan (Pasupati) also says almost the same thing. The moment you pick up the sickle, you are no longer a boxer, it becomes firm.
Still, Kaabilan goes astray despite dire warnings from his mother and newly wedded wife Mariamma (Dasara Vijayan). The mother, Bakkiam (Anupama Kumar), is dead set against Kaabilan stepping into the ring, his wife too. But Rangan sees immense potential in Kabilan, and trains him to not only be a champion, but also to hold the flag of his boxing clan, Sarpatta high against the rival, Idiyappa.
Over a three-hour long yawn, the film weaves in and out of myriad messes. The competition turns into a sword fight, and the matches are interrupted when Kabilan prepares to call for victory. And boxing bouts are less about boxers than about clan, rather than pride and prejudice. Individual angles abound; Rangan’s son is annoyed by his father’s abdication in favor of an outsider like Kaabilan. There’s a lot of frenzy and theatrics outside the ring, and all these variations undermine the original plot—perhaps in the misconception among producers, writers, and directors that ticket-givers want “nutritious entertainment,” which is quite a task in these times. does not do. .
Arya is interesting in her boxers as a fiery bull, and she fits the character well. And happily, because he is best suited to play soft, tender roles. Above all, the matches are exciting, well choreographed and shot, especially between Kaabilan and the dancing Rose (Shabir Kallarakkal). The guy literally dances in the ring, and he’s glad to see a nice piece of writing here. Above all, as coach Pasupati creates a calming effect in a sport that is so badly needed.
But what was this great idea of Indira Gandhi imposing Emergency? And making Rangan a Dravida Munnetra Kazhagam (DMK) cadre? These stick like a sore throat in a movie that is all about punches and knockouts.
(Gautman Bhaskaran is a film and writer)
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