Saripodhaa Sanivaaram movie review: Vivek Athreya, Nani and SJ Suryah deliver an entertaining Saturday story

Nani in ‘Saripodhaa Sanivaaram’
| Photo Credit: Special Arrangement

In a scene in the Telugu action drama Saripodhaa Sanivaaram (Surya’s Saturday in other languages), written and directed by Vivek Athreya, a man at the mercy of a ruthless Circle Inspector pleads to be let off, citing that he has two children to care for. What happens in the next few minutes in this film starring Nani, SJ Suryah and Priyanka Arul Mohan exemplifies what makes this film stand out from the regular potboilers. The cop asks for more details and gauges the relationship the man shares with his two sons. Something he says soon after gives us an insight into the cop’s past and the context for his skewed personality. In a less nuanced film, a man pleading for mercy would have been a mundane, oft-seen scene. The sharp writing and eye for detail elevate Saripodhaa… from a regular vigilante story, subverting cliches and making the drama engrossing.

The broad story of Saripodhaa Sanivaaram is that of Surya (Nani), leading an ordinary life as an insurance agent from Monday to Friday, and unleashing his anger on Saturdays. A backstory reasons this Saturday fixation. When he witnesses injustice, he does not let it go. He bides his time and sets things right on Saturdays. It is a matter of time before he crosses paths with police officer Dayanand (SJ Suryah), who unleashes his anger on hapless people of the fictional locality Sokulapalem. The romance between Surya and the newly-appointed cop Charulatha (Priyanka Arul Mohan) adds another layer of intrigue to this battle.

The film has all the staples of a mainstream action entertainer — a hero introduction, pulsating action sequences, a formidable antagonist and the power struggle of good versus evil. Venturing into an action drama for the first time, Vivek brings his trademark abilities — the knack of giving most of his characters a definite arc, subtly reinforcing a healthy gender equation and not taking the audience for granted — all of which make a difference.

The 175-minute film is divided into chapters — the prologue, the turn, the knot, the crossroads, hide and seek, and redemption. Anger pervades as a mood through the narrative. The portions featuring Abhirami as the mother anchors the narrative. It is easy to understand where Surya’s sense of social justice stems from. The stubborn nature runs in the family, particularly with the sister, Bhadra (Aditi Balan), while the father, Sankaram (Sai Kumar), tries to maintain the balance in the family.

Just as Surya’s world is established well with subplots that explain the ramification of his anger on his personal relationships and on others he crosses paths with, enough thought has also gone into building the world of the antagonist. The reasoning of Dayanand’s misplaced anger and his relationship with his brother Kurmanand (Murali Sharma), laced with dark humour, sets the stage for things to follow.

Compared to the heavy-duty stories that define the protagonist and the antagonist, the characterisation of Charulatha might seem less interesting. But her character, despite being vulnerable and comparatively meek, also pushes the narrative forward.

The film has its big moments, set to a pulsating music score by Jakes Bejoy and picturised with brooding intensity by Murali G. The use of the red scarf and the recurring motif of red for anger are welcome additions. Perhaps the name Surya, the scarf as a remembrance of the mother, his anger issues and Surya’s lady love wanting no violence and confrontations are subtle nods to Mani Ratnam’s Thalapathy. The possibility cannot be ruled out, considering Vivek Athreya and Nani are the filmmaker’s fanboys. Early on, a scene on a sandy beach featuring a young mother and her child perched on a wooden log could also be interpreted as a subconscious nod to Kannathil Muthamittal.

Saripodhaa Sanivaaram teems with characters — played by Murali Sharma, Ajay, Ajay Ghosh, Harshavardhan, Jeevan Kumar and others — who make their presence felt. In a passing scene, a mother teaches a girl to cook but gently asks her to treat it like just another skill and not limit herself to the kitchen when she grows up. A sister who does not cow down easily knows when to take a different approach. A father who cooks, cleans and dotes on his children also gets his ‘mass’ moments. The hero, matter-of-factly, becomes the pillion rider while the woman takes charge. Abhirami brings a quiet dignity to her part; Sai Kumar is sure-footed as the father. Vishnu Oi could have been used better though.

Then, there are the finer details that are used at the right time for the twists and turns. Watch out for a young boy and his sense of time. Also pay attention to a character and his ‘wrong judgement’. There is a lot to savour. The underlying humour, even during the big clashes, adds to the entertainment quotient without taking the tension away. The meta references to Eega also gel with the proceedings.

If there is a gripe, it has to do with the climax portion. The film tries its best to not end up showcasing its hero as a saviour. There is insistence on people having to stand up for themselves. The Krishna-Satyabhama and Narakasura reference is beautifully reinterpreted at this juncture. However, the segment could have been written better.

The writing is the backbone of the film and is accentuated by the effortlessly winsome performance of SJ Suryah as the maniac and the ever-dependable Nani with his simmering, controlled rage. Suryah gets some of the best scenes and lines and his mere presence conveys his menacing attitude. Nani’s is a more calibrated performance, shifting between the man next door and a vigilante hero who is also emotionally rooted.

Saripodhaa Sanivaaram is what we get when fine writing infuses life into an old vigilante drama. It is enjoyable for the most part with some riveting segments.