Saripodha Sanivaram Movie Review: Vivek Atreya, Nani and SJ Surya deliver an entertaining Saturday tale

Nani in ‘Saripodha Sanivaram’ Photo credit: Special Arrangements

In a scene from the Telugu action drama Saripodha Sanivaram (Sun Saturday In Other Languages), written and directed by Vivek Atreya, a man at the mercy of a ruthless circle inspector pleads to let him go, citing that he has two children to take care of. What happens in the next few minutes of this film starring Nani, SJ Surya and Priyanka Arul Mohan is what sets this film apart from the regular potboilers. Police want more details and gauge the relationship the man shares with his two sons. What he says shortly afterwards gives us an insight into the background of the policeman’s past and his twisted personality. In a less short film, a man pleading for mercy might be a mundane, often seen scene. Sharp writing and improved eye for detail row… from a regular vigilante story, subverting the clichés and making the drama interesting.

Its elaborate story Saripodha Sanivaram Surya (Nani), lives a simple life as an insurance agent from Monday to Friday and vents his anger on Saturdays. A backstory causes this Saturday fixation. When he witnesses injustice, he does not allow it to happen. He bides his time and fixes things on Saturdays. It is only a matter of time before he crosses paths with police officer Dayanand (SJ Surya), who takes out his wrath on the hapless people of the fictional locality of Sokulapalem. The romance between Surya and newly appointed police cop Charultha (Priyanka Arul Mohan) adds another layer of intrigue to this battle.

The film has all the staples of a mainstream action entertainer – a lead role, pulsating action sequences, a strong antagonist and a battle of good versus evil forces. A first-time venture into an action drama, Vivek brings his trademark abilities – the ability to give most of his characters a well-defined arc, subtly reinforce a healthy gender equation and not take the audience for granted – all of which make a difference.

The 175-minute film is divided into chapters – Prologue, Turn, Knot, Crossroads, Hide and Seek and Release. Anger is pervaded as a mood through the narrative. Portions featuring Abhirami as a mother anchor the narrative. It’s easy to see where Surya’s sense of social justice comes from. A stubborn nature 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 is well established with subplots that explain the effects of his anger on his personal relationships and others he crosses paths with, enough thought has also gone into creating the world of the antagonists. Dayanand’s misplaced angst and the logic of his relationship with his brother Kurmanand (Murali Sharma), laced with dark humor, set the stage for things to follow.

Compared to heavy-duty stories that define protagonists and antagonists, Charulata’s characterization may seem less interesting. But her character, despite being weak and relatively meek, drives the narrative forward.

The film has its big moments, set to a pulsating musical score by Jakes Bejoy and portrayed with brooding intensity by Murali Ji. The use of red scarves and the recurring motif of red for rags are a welcome addition. Perhaps the Surya name, the scarf as a reminder of the mother, her anger issues and the love of the Surya woman who wants no violence and conflict is a subtle nod to Mani Ratnam. Thalapathy. The possibility cannot be ruled out, considering Vivek Atreya and Nani as fanboys of the filmmaker. Early on, a scene on a sandy beach with a young mother and her child sitting on a log can also be interpreted as subconscious consent. Kannathil Muthamittal.

Saripodha Sanivaram Team up with characters played by Murali Sharma, Ajay, Ajay Ghosh, Harshvardhan, Jeevan Kumar and others – who make their presence felt. In a fleeting scene, a mother teaches a daughter to cook but gently tells her to treat it as another skill and not confine herself to the kitchen when she grows up. A sister who is not easily cowed knows when to take a different approach. A father who cooks, cleans and dotes on his children also has his ‘mass’ moments. The hero, in reality, becomes the pillion rider while the woman takes over. Abhirami brings a quiet dignity to his part; Sai Kumar is confirmed as the father. Although Vishnu Ai could have been used better.

Then, there are subtle details that are used at the right time for twists and turns. Watch out for a young boy and his sense of time. Also focus on one character and his ‘misjudgment’. There is so much to savor. The underlying humor, even during the big confrontations, adds the quotient of entertainment without taking away from the tension. Meta references Iga Also jailed with activities.

If there is a gripe, it has to do with the climax part. The film does its best not to portray its hero as a savior. People have to insist on standing up for themselves. At this juncture the references to Krishna-Satyabhama and Narakasu are beautifully reinterpreted. But the segment could have been written better.

The writing is the backbone of the film and accented by SJ Suryah’s effortlessly brilliant performance as the ever-reliable Nani with a frenzied and controlled anger. Surya gets some of the best scenes and lines and his mere presence conveys his fearsome attitude. A more calibrated performance by Nani, who shifts between the man next door and a vigilant hero who is also emotionally rooted.

Saripodha Sanivaram That’s what we get when fine writing infuses life into an old cautionary tale. It is enjoyable for the most part with some riveting segments.