A sympathetic portrayal of the anger of the oppressed -

A majority of responses to injustice sometimes serve the function of pressure releasing valves, as one-off protests calming the pent-up anger, whereas staying contained in the accepted confines of civil society. Occasionally, there are acts which get away of this safe zone with the victims of oppression putting even their lives on the street for what they think about is a merely response. Pada is a cinematic chronicle of 1 such real-life incident, which is now just about forgotten in Kerala, although the issues raised keep as associated now, as a result of it was then.

On October 4, 1996, 4 males who claimed to be members of the ‘Ayyankali Pada’ walked into the Palakkad District Collector’s office and held him hostage for 10 hours, retaining all of the state administrative tools on tenterhooks. That that they had only one demand: the State Authorities should withdraw the amendments made to the Kerala Scheduled Tribes (Restriction of Swap of Land and Restoration of Alienated Land) Act 1975, which was enacted to return to the tribal people all the land taken over from them by settlers after 1960. Over time, successive governments had watered down the regulation and the 1996 modification was the ultimate straw, driving 4 tribal activists to carry out a daring act to hold the federal authorities to the dialogue desk.

In Pada, Kamal Okay.M. recreates the events of that day to carry the larger question of tribal land alienation. His debut film ID was written throughout the search for the identification of an unknown labourer who had collapsed at his workplace. Proper here too, the protagonists are from the marginalised sections, struggling to eke out a dwelling. We get quick, nonetheless lasting glimpses of their backgrounds, throughout the frenzied preparation ahead of the day of movement. Balu (Vinayakan) borrows his youthful daughter’s wristwatch, because of timings are important, concurrently she asks him whether or not or not he’s going to advertise that too. Aravindan (Joju George) delivers a line about his helplessness when a lottery vendor pesters him to buy one. Rajesh (Kunchacko Boban) seems to be the one one with a historic previous of violent acts, whereas Kutty (Dileesh Pothan) is busy pacifying his partner Mini (Unnimaya Prasad), who’s throughout the know of the plan.

The script lands straight into the hostage state of affairs with out shedding loads time for the organize. Inside, it’s a relentless shift between assorted tense situations, giving no respite to the viewers. On one hand, there often is the fastened shift in dynamics between the captors and the Collector (Arjun Radhakrishnan), who’s delicate to their requires, whereas on the other side there often is the Chief Secretary (Prakash Raj) and group racking their brains to cool down the captors. Exterior, there’s a clueless group of cops trying to find a fashion in.

Kamal is for certain of the material he’s working with, be it throughout the political sense or the technical sense. The background evaluation to get correct the little particulars from that day may also be evident. The fictional components or the cinematic liberties that he takes don’t take away one thing from the core problem that the film raises. Nonetheless what he achieves with the material has loads to do with the seamless coming collectively of Vishnu Vijay’s music, Shan Mohammed’s modifying and Sameer Tahir’s cinematography. One drawback stands out because the presence of too many actors who don’t have a standout operate, significantly that of Shine Tom Chacko, Karamana Sudheer and Jagadeesh.

Pada is a sympathetic portrayal of the justified anger of the oppressed. 

Pada is in the intervening time working in theatres