Now Premiering - Narappa
Narappa - An inconsistent yet intense archetype of caste, land and retaliating hot blood
The two most important aspects of writing a period drama (even if inspired by real events) on rural caste discrimination are novelty and maturity. The novelty comes from etching out oppressing episodes of the downtrodden with certain realism and connection. The script’s first success is right there.
While we don’t get these episodes from the word go, we can sense the aftermath in the character’s actions as Venkatesh as Narappa and his younger son slowly walk into a greased pond at midnight. This is a part of the escape plan. The plan itself, as stated from the words of the father, that we cannot even have an escape by running swiftly on solid land, but we have to limp through this sticking pond. Is this plan aimed solely at their safe exit? Or is it that even the plan has itself designed for a safe exit, but exclusively for the caste Narappa belongs to?
The episodes of oppression and fight back are yet to start and already there is a teeming sense of discrimination in whatever. While many movies struggle to even find their space in the viewing audience, Narappa, shouldered by phenomenal thoughts from the writing easily places itself within minutes, as we start thinking like the characters and even smell the mud they're standing around.
But it’s mud and only mud we smell. The movie doesn’t involve us any further.
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The casting of the movie doesn’t succeed in naturalistic choice for action as it does for the Narappa’s side of society. Priyamani’s encouraging act of voicing her role backfires on her convincing performance. Her dialogue delivery has a staccato inflexibility of pronouncing the words (in the Nellore dialect) clearly, quickly and fluently. The actors from the upper class have little to no extra dimension other than greediness ( on money, fame, land), which makes them identical and monotonic. Rao Ramesh as the sole honest lawyer gives out a generic and softer (the voice again) performance. The fightback from him was expected to be strong and focused.
The post-interval hour of flashback is predictable and cliched. One very refreshing and phenomenal touch is from the modus operandi of the triggering harassment and the agenda on which it’s based – the right to wear slippers. When Kannamma ( played by Abhirami ) flinches out of physical disgust, any other writer would’ve created an ennui physical harassment. It’s still harassment here, but a more inclusive act, concerning the right to wear slippers. That’s novelty again which shines as a sole star in an otherwise dull second half.
Another fundamental flaw, but for which the makers cannot be blamed, is the haphazard manner of muting the dialogues and blurring out the visuals. The CBFC, as instructed to Prime Video, resulted in disjointed and incoherent audio and highly distracting video quality. It’s the price to pay for a U/A certification. Imagine how raw, gritty and hard-hitting it would’ve been if that small compromise of settling with an A was agreed upon.
Recalling the main point, it’s mud and only mud we smell. We don’t feel the thud when Narappa falls before his mutilated son’s dead body. We don’t feel the undying heat as the tears wet us from their angst against injustice and utter frugality. We don’t feel the splashing blood as Narappa swivels his minimalistic armour on the bodies of upper-class double-standard misers.
The writing which had the potential in shaking us much deeper never advances any further when it comes to the movie. We stand at the same place and weigh the same emotional heft for 2.5hrs. It's definitely exhausting.
The stroke of maturity is filled throughout in the most abstract and blithe shades. One very recognizable notion in this context is the final dialogue that Narappa shares with his younger son. He shares about legacy, which, is never in fame, land or money, but only in education. Even when the day comes, when he stands on his legs as an educated authoritarian, Narappa advices not to think of seeking revenge. Only think of equality.
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I can only think of Palasa 1978 among the many recent Telugu movies of recent times, which could come close to this level of maturity in the idea of Caste discrimination and ultimate equality. Narappa is an inconsistent yet intense archetype of caste, land and retaliating hot blood
Really nice
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