Sarapatta Parambarai Review: Sarpatta Parambarai returns to the path after wandering

Amazon Prime recently released Farhan Akhtar’s boxing based “Toofaan” and has now released the Tamil language film “Sarpatta Parambarai” for the audience which is based on the 1970- Shows a glimpse of the “boxing” culture of North Chennai in the 80’s and also attempts to touch on the economic and caste disparities through a touching story. Director PA Ranjith is not a very old director, but connects social anomalies, caste equations, political situations and problems faced by common people to the main theme in his film and raises these problems in a symbolic way. While watching Ranjeet’s film, a little attention has to be paid because the hidden meanings in his film make him different from other filmmakers.

Parambrai means family and Sarpatta means 4 knives. For example, in the films of Bruce Lee or Jackie Chan, there used to be martial arts schools and in the fight for supremacy, they used to organize tournaments among themselves, this film is on the same lines as the popular boxing clubs in Chennai of the seventies and eighties or Shows Parambarai. The film is quite long but after a diversion, the film again returns to boxing. The original story is of a boxer who, seeing his coach being insulted, challenges him to defeat the opponent’s boxer and almost wins, after which his steps stagger and he starts on the wrong path. In the desire to get approval from the coach, he then comes out of that pit and earns success. The story of Toofan was more or less similar, but the amazing things in Sarpatta are the sub-plots of this film.

Let’s start with the subplot of Coach Rangan Vathiyar (Pashupati). Although the motivation in the story comes because of him, but he has become a strict and almost rude type of coach. He does not even allow his son to enter the competition because he does not know the technique to fight the opponent. Those who understand Tamil Nadu politics and understand the importance of Tamil Nadu in national politics know Annadurai and Karunanidhi’s party “Dravida Munnetra Kazhagam”. In the 70s, Karunanidhi had influenced the politics of the whole country. The then Prime Minister Mrs. Indira Gandhi tried her best to run the Taj policy of Tamil Nadu in her own way, but she realized the power of the people late. Even today DMK is the third largest party. In the film, Rangan is a prominent leader of this DMK, considers Karunanidhi as his leader and later goes to jail due to this politics.

The role of Rangan’s son Vetriselvan (Kalaiyarsan) is significant. His father forbids him to fight rival boxers because of his lack of technology, and he starts running illicit breweries because of his father’s public humiliation and wife’s taunts. Basically being a good man, he realizes his mistake in the end. The story shows a small incident of his father being a supporter of Karunanidhi’s one-time aide superstar MG Ramachandran (who had left the DMK to form his own party) as a voice of protest. Rangan himself is saddened to see MGR’s picture in his house on his return from jail. A lot of meaning comes out in this scene.

Women have been given great priority in Ranjit’s film. His characters are short and most influential. Anupama Kumar plays the role of Kabilan’s (Arya) mother. Anupama, who has worked as a character actress in ad films and Tamil films, has few close-up shots but her dialogue delivery, her facial expressions and body language show her importance. It is difficult for any woman to watch her husband turn from a boxer into a mawali and then be killed by other goons. In a life full of struggles, his unsuccessful attempt to escape from his son’s hobby of boxing, his wrong path and then finally forgiving him and becoming his inspiration. The role had many qualities.

Dushara Vijayan has been cast in the role of Mariyamma, wife of Kabilan. There was an opportunity to show the rainbow of acting in this character. Dushara, who started her career as a fashion model, played a village girl in this film. Glamor was non-existent. In the audition, she had to shout loudly in Tamil and what a lot she shouted till the film. She is entered as a touchy girl in the film, in the honeymoon she shows her husband by dancing in front of her husband. Slowly, like her mother-in-law, she takes care of the entire household but does not hesitate to argue with her husband. Even when he leaves her and goes to boxing, even when he becomes an alcoholic, even when he thinks of boxing again, he continues to get the quintessence of his wife’s words. In one scene, a drunken man scrambles to protect her husband from the goons and then suddenly breaks down and starts crying. The character of Mariamma was created by the writer at leisure and hence her character has many facets.

There are some more important characters in the film which give new dimensions to the film. Shabbir Kallarakkal has played a small but wonderful role of a different kind of boxer “Dancing Rose”. Initially, these coaches keep taunting Rangan, but when he comes to the boxing ring and shows his boxer body and boxing in the style of dance, the audience gets a little fun. John Vijay, in the role of Kevin aka Daddy, a friend of Kabilan’s father, kept the film from getting too serious and lending a smile to the audience with light moments. The film’s main antagonist coach Raman (Santosh) and Kabilan’s rival Vembuli (John Kokan) have decent performances. Although these characters are featured prominently in the film, the director could not save them from being filmy.

The film deviates from the path at one place. During the fight between Kabilan and Vembuli, the police arrive and arrest and take away Coach Rangan for Indira Gandhi’s decision to dissolve the Tamil Nadu government. After this, Coach Rangan’s son Vetriselvan, annoyed with his father, starts the illegal liquor business and uses the muscle power of the clan to capture all the small bases and gradually make the tribe addicted to country liquor. Is. Kabilan had to fight bigger than Vembuli in the climax, so if the director had not shown Kabilan to deviate from the path and lead his life on the path of destruction, then perhaps it would have been difficult to end the film but the problem was that this part was too long. Done. In a three-hour film, this 30-minute part looks like a misfit.

The hero of the film is Kabilan Arya who made a boxer’s body by sweating for 6 hours a day for about 7 months. His boxing style is slightly lacking because his punches are not that powerful. In the action choreography, there was scope for a little better work in boxing matches. Mohammad Ali is mentioned time and again in the film and once Mohammed Ali himself came to Chennai and many of his pictures with MG Ramachandran are proof of the boxing culture of Chennai. The music in the film is by Santosh Narayanan and for this reason a break has been given in between the action sequences in the film by replacing one or two songs, it was not needed but dance songs happen in our films. This is cinematographer Murali’s fourth consecutive film with director Ranjith. Along with the framing, the murli works authoritatively on the camera movement and that is very important in the language of the film. Editing is the responsibility of Selva RK and he has done well in view of the story. Could the film have been shorter, I don’t think so. Editing the story of Tamil Prabha and PA Ranjith would have been a difficult task.

There are many amazing scenes in the film. If you are sad about the filminess of Toofan and really want to see a good film on boxing then watch Sarpatta Parambrai. If seen on the weekend, it can be seen despite being long. It seems that after this film, sports drama films will be able to become a little better and there will be some changes in the motivational methods of heroes in sports story or in their back story.

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