Hostage dramas have hitherto been an unexplored sub-genre in Malayalam with the iconic "Moonnam Mura" (1998) the only film that made any mark in the mind of audiences. In "Pada", director Kamal KM relies on an unbelievable true story of bravery and standing up to the ruling elite to tell us a riveting tale that manages to make you think and shake you to your very core.
Based on the crisis perpetrated by the "Ayyankali Pada", a tribal rights association, in 1996 by taking the district collector of Palakkad hostage, "Pada" explores how even the downtrodden will rise up if the subjugation goes beyond a point and delivers its message without resorting to cheap cinematic thrills or gimmicks. Originally planned as a protest against tribals and Dalits being evicted forcibly from the Western Ghats in the name of mega-projects, the hostage drama had managed to shed much-needed light on the plight of the community and brought their troubles to the public conscience.
The casting deserves high praise with each of the four protagonists-played by Kunjacko Boban, Vinayakan, Dileesh Pothen and Joju George playing their part with aplomb. It was an absolute delight to see Vinayakan in characteristic blistering form after long, with his last memorable performance coming way back in 2019 with "Thottappan". Kunchacko Boban's second innings in Malayalam cinema keeps going from strength to strength with his script sense coming to the fore, be it the critically-acclaimed "Nayattu" (2021) to the deliciously entertaining "Bheemante Vazhi" (2021) and now "Pada".
That Joju George seldomn acts and rather lives on screen as the character is taken for granted these days while it is astonishing that Dileesh Pothen continues to grow as an actor while still making excellent content as one of Malayalam's foremost directors. "Pada" also makes optimum use of its supporting cast with Indrans, Arjun Radhakrishnan, T. G Ravi, Unnimaya Prasad and the expectedly immaculate Prakash Raj adding tension and drama to proceeding with their rousing performances.
The film weaves its magic slowly but surely as the leads set out to plan and execute their armed uprising and encounter several obstacles in their path. A disruptive but riveting quickening of the pace leads to a stunning interval sequence where you are left on a knife-edge. From there, the film takes a tonal shift from being action-oriented to an increased focus on the subject and message and provides thought-provoking commentary on the unconscionable way the government has treated the society's weaker sections.
Director Kamal KM injects immense realism and rootedness into the storytelling, with most of the stunt sequences shot in a rowdy, rough and tumble manner, with none of it appearing choreographed or coordinated, as it happens in real life. Despite the misguided way the protagonists raise their concerns, at no point do you feel anything but sympathy for the circumstances that forced their hand and their noble intentions behind taking matters into their own hands.
A chilling montage at the climax gives the audience more insights into the plight of the tribals that led them to take such extreme measures as well as the continued suffering being meted out to them at the hands of a broken system. The film's true success lies in the conversations it will trigger and the questions that it will raise, at least in the minds of a younger generation filled with hope and the willingness the make large-scale, systemic change.
Pada is the best kind of cinema-one that combines a strong message hinging on a real-life story which gets further elevated by a handful of excellent performances and a captivating narrative. One can only imagine the sheer bravery and gumption of the original protagonists who embarked on this daring protest to call out the apathy of the larger society out there towards the adivasis. No wonder the entire theatre I watched the film in gave the movie a standing ovation as the end credits rolled.
Sensational, impactful filmmaking. Highly, highly recommended!
