Pa. Ranjith's latest film ticks almost everything you expect from the man: there's racy action (in the form of impressively staged boxing bouts), social commentary on the issues of the '70s North Madras working class and their warring communities, well-etched lead characters, and frames filled hordes of people. Arya slips into the role of Kabilan (a labourer-turned-boxer) with ease, his physique the perfect add-on. While he's red-hot in the action sequences, his performance is found slightly wanting in the ultra-emotional ones. There's solid reason why Ranjith stages the film in the '70s: characters (and even entire communities) are affected by the happenings of the times.
Solid supporting acts form the backbone of the film. Be it Pasupathy (as Coach Rangan), Shabeer Kallarakkal (as Dancing Rose, with an intriguing demeanour), John Kokken (as Vembuli, Kabilan's unbeaten nemesis), John Vijay (as the Anglo-Indian Daddy, his mixed dialect adding to the fun), and Dushara Vijayan (as Mariyamma, Kabilan's wife who struggles to keep him in check). Cinematography by Murali G often gives you the spectatorial perspective - that feeling of sitting amid packed, cheering crowds. While the 2h 53m run-time may look worrying, not a single scene is unengaging. Even Kabilan's gangster turn is portrayed in the form of a long montage using frequent jump-cuts. In another film, it would have required an entire hour.
The biggest difference-maker here is that the coach character isn't the typical one you'd see in regular sports films. He's philosophical in his approach, but also tactical. The dynamic between coach and pupil is wonderfully picturized. The plot and its intricacies are mostly on-point, except for a few random attack scenes that come off as lazy. Kalaiyarasan's character (coach Rangan's son) is a bit too conflicting and his transitions (from cunning to considerate) in the film feel more abrupt than organic. In Sarpatta Parambarai, Ranjith makes an effort to let us know how boxing became the favourite sport of North Madras and eventually, a determinant of the protagonists' lives. SaNa's pulsating musical score adds zing, especially to the action scenes.
Solid supporting acts form the backbone of the film. Be it Pasupathy (as Coach Rangan), Shabeer Kallarakkal (as Dancing Rose, with an intriguing demeanour), John Kokken (as Vembuli, Kabilan's unbeaten nemesis), John Vijay (as the Anglo-Indian Daddy, his mixed dialect adding to the fun), and Dushara Vijayan (as Mariyamma, Kabilan's wife who struggles to keep him in check). Cinematography by Murali G often gives you the spectatorial perspective - that feeling of sitting amid packed, cheering crowds. While the 2h 53m run-time may look worrying, not a single scene is unengaging. Even Kabilan's gangster turn is portrayed in the form of a long montage using frequent jump-cuts. In another film, it would have required an entire hour.
The biggest difference-maker here is that the coach character isn't the typical one you'd see in regular sports films. He's philosophical in his approach, but also tactical. The dynamic between coach and pupil is wonderfully picturized. The plot and its intricacies are mostly on-point, except for a few random attack scenes that come off as lazy. Kalaiyarasan's character (coach Rangan's son) is a bit too conflicting and his transitions (from cunning to considerate) in the film feel more abrupt than organic. In Sarpatta Parambarai, Ranjith makes an effort to let us know how boxing became the favourite sport of North Madras and eventually, a determinant of the protagonists' lives. SaNa's pulsating musical score adds zing, especially to the action scenes.