Sarvopari Palakkaran (2017) Malayalam Movie Review – Veeyen


Venugopan’s ‘Sarvopari Palakkaran’ has as much of Pala in it, as there is prose in prosody. A film that has literally nothing to do with Pala or Palakkad for that matter, Sarvopari Palakkaran’ gains its ceremonious title from the mere fact that its male lead hails from Pala.


Venugopan’s ‘Sarvopari Palakkaran’ has as much of Pala in it, as there is prose in prosody. A film that has literally nothing to do with Pala or Palakkad for that matter, Sarvopari Palakkaran’ gains its ceremonious title from the mere fact that its male lead hails from Pala.

It’s not just Pala that is at the receiving end in the film; it’s also a group of actors, and very promising ones at that, who find themselves in a predicament, having been handed over a script that would do justice to none of them. Left with the only option to play along, they move about like keyed -up toys that clap and beat the drums as per instructions.

Anoop Menon plays Jose Kaithaparambil, a police officer from Pala, in the film who is  quite sure as to what he wants from his wife, and after a much laboured exploration, gets engaged to Linda (Anu Sitara). His notions on anything that is even remotely feminine seem to be terribly off beam, and with Anupama (Aparna Balamurali) flouncing in, the man finds himself nose to nose with a few shockers.

‘Sarvopari Palakkaran’ is a film that is less about Palakkaran, and more about Anupama – the kind of girl who strikes a jagged contrast with Linda, the other female presence in the film. Anupama is the quintessence of women empowerment, and the writing tries a bit too hard to stuff in everything that could transform her into a liberated soul, but a very evident one at that.

A thriller element is thrown in which renders ‘Sarvopari Palakkaran’ to wander into a generically unidentifiable territory, and a rape investigation starts off in no time. Suresh Babu lets his pen scribble this way and that, and is finally left with a film that has its fingers dipped in ten different soups, unsure of what it would like to taste like.

The kind of real references that the film brandishes all along are ones that we are familiar with, but it still doesn’t make ‘Sarvopari Palakkaran’ a film that has some solemn message to leave in its wake. The social commentary in it has a strained and affected air about it, all the while reverting back to that standard platform that it has set for itself.

The characterization leaves a lot to be desired, and the film often pushes its characters to occupy the extreme ends of a line. There is a bundle of formulaic traits that they are made to bear on their backs, which leave them mostly one-dimensional and wildly swimming around in a sea of obviousness.

Aparna Balamurali is without doubt the star in ‘Sarvopari Palakkaran’ despite the film proclaiming from the roof tops that its all about its male protagonist. Anoop Menon gracefully gives way to her, and makes no additional efforts to emphasize his presence. Anu Sitara is the pretty dame that she is expected to be.

A stilted structure and a passé plot make ‘Sarvopari Palakkaran’ a rather listless film. A lot happens in it, and yet at the end of it all, you walk out wondering what in the name of Pala had actually transpired, and realize that ‘Sarvopari Palakkaran’ had been a wan cinematic piece all along.


Verdict: Disappointing


 

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