Solid: Vinayakan, Joju George, Kunchacko Boban, Dileesh Pothan
Director: Kamal KM
Director Kamal KM’s (who had earlier made I.D) Pada is impressed by an actual occasion that occurred in 1996 when a small military (pada) of comrades took the collector and the Palakkad Collectorate hostage to protest in opposition to a Legislative Invoice that might relocate Adivasis from their houses. This Invoice, handed unanimously by each MLA aside from Okay Gouriamma, had the powers to show Adivasis into refugees, forcing them to maneuver out of their land. The movie begins with a direct-to-camera piece by Rakesh (Kunchacko Boban), which units the context for a movie that’s about an occasion which will have been misplaced from public reminiscence. However with its docu-drama remedy, the day of this protest comes alive by the minutest of particulars with out it ever feeling dry or impersonal.
That is achieved by making the movie’s central characters really feel human and relatable, in contrast to the unapproachable activists/revolutionaries comparable movies would paint them to be. To start with, we get an excellent drone shot that units the tone for the movie’s central struggle—we see an unlimited expanse with greenery extending in the direction of all sides as we regularly zoom in on a gaggle of youngsters taking part in on this stunning panorama. A sister and her brother play conceal and search in what seems to be their private playground. However by the following morning, we see this household waking up within the wee hours of the day to shift away from this land to narrower lanes in an even bigger city. We be taught that their father Balu (Vinayakan) is among the 4 members of the Ayyankali Pada that might go on to carry the collector captive, if solely to reclaim the playground for his kids.
Even in any other case, the movie is ready to combine sufficient characters into the screenplay such that the Collectorate is demystified from an imposing energy construction to the final ray of hope for seemingly powerless individuals. So we see blind lottery ticket sellers who promise fortunes with out discovering any luck themselves. We additionally meet an aged couple (the previous girl has dementia) who wants the collector to assist them, lest they grow to be homeless. Because of this even when Pada speaks a few particular Invoice and a individuals, it doesn’t overlook to point out us how the system is conditioned to neglect the weak.
All of this gives a variety of dramatic heft to what’s in any other case a movie with the soul of a heist thriller. But it surely’s the specificity of its writing that retains it participating, even when some scenes might have performed like empty exposition. Take for example Balu’s suggestion that they save up on dry fruits to maintain their protest. However when Joju George’s character explains the way it’s unaffordable to them, we not solely perceive the sensible difficulties of their plan however we’re additionally unable to think about these individuals as harmful or intimidating. As a substitute, they seem as determined troopers preventing in opposition to a democratic system that has allow them to down. Finally, it’s the may of the identical system that returns to assault them, even after we really feel they’ve discovered an escape route that’s each authorized and democratic.
At simply above 120 minutes, Pada is tense with a construction that turns into more and more thrilling because the protest widens to incorporate everybody from the media to attention-seeking native politicians, the facility centres in Trivandrum to the brains behind this protest. But even when the movie is most critical, it presents us with lighter moments which reinforce our fondness for the primary characters and this contains the collector himself. With this deftness in remedy and a set of nice performances in totality, Pada tells the story of a motion with out sounding like pamphleteering.