SARVOPARI PALAKKARAN STORY: C I Jose Kaithaparambil is a classic, conservative Palakkaran who is on the hunt for his perfect life partner. While that’s on in his personal life, his boss assigns him a high profile rape case. Meanwhile, theatre artiste Anupama, who is quite a daredevil independent woman, crosses the path of Jose much to his annoyance. Will it all have a bearing on Jose’s life as well?
SARVOPARI PALAKKARAN REVIEW: 'Sarvopari Palakkaran’s' title might make you feel that it’s all about the ‘Pala-ness’ and the much celebrated, fun stereotype of an achayan. If you are all set to walk into the theatre expecting an entertaining movie filled with some ‘Ennada uvves,’ marathon liquor sessions, church-influenced family folk and green rubber thottams, here’s a heads up. A story laced with it all is hardly what the film offers. Not that a Pala-based story can work only with these elements in place, but some solid fun triggered by their presence is something the audience can’t help expecting.
A conservative Palakkaran who can’t stand modern women or their conduct, Jose Kaithaparambil is a cop by profession. After many pennu kaanal sessions, he finally zeroes in on a smart-yet-affable girl Linta. Jose’s bose, Chandra Sivakumar asks him to work on the rape case of a non-Malayali girl. During the investigation, he meets an undaunted young woman, Anupama Neelakandhan. A friction develops between the two, thanks to the difference in ideologies, mainly. The plot inches forward with these basic elements in place.
The film’s story is unique and in the first half, there are portions that offer some interesting and relatable comedy sequences. For example, the one in which a cop asks for a selfie with a minor celebrity brought to the police station. Aparna Balamurali’s character has a lot of scope for performance, and she eases through it, both looks and acting-wise. Anoop Menon, Gayathri Arun, Alencier Ley, Balu Varghese and Nandu are all believable in their roles, though there isn’t a lot that their character spaces offer for performance.
Right in the first half, one wonders why there are so many story situations cropping up that don’t hint any value addition to the overall story progression. Nevertheless, you hope that they all will tie up somewhere. Some of them do, but not all. Certain scenes only result in prolonging the movie, without adding any value – comedy or thrill-wise. For instance, the one that showcases Balu Varghese’s character Joy’s arrival to take Anupama to task, teaming up with his beloved Mani uncle (Alencier). Also, no strong reason is given to show why certain characters develop affection for Jose, and you are left baffled. The second half annoyingly drags through some portions too. The climax also lacks the punch that it could have packed, if carefully crafted.
