Story: Based on a genuine occurrence, the film is around four men, who call themselves Ayyankali Pada, holding the Palakkad gatherer requesting ancestral land freedoms.
Review: Every on occasion you will see a film that will make you imagine that it was two hours very much spent. Pada is one such. After the brief film, besides the fact that you feel the enthusiasm for having encountered a decent realistic encounter, however you believe you have gotten the hang of something and need to follow through with something. Curiously, the film depends on an occurrence that occured in 1996 at the Palakkad Collectorate, however tragically, north of 25 years after the fact, the story feels exceptionallycurrent, aside from today, it very well may be hard to arrange a small bunch of individuals who will benevolently work for the necessities of others. Kunchacko Boban, Vinayakan, Joju George and Dileesh Pothen - not in a specific order of significance - structure the Ayyankali Pada which holds the gatherer prisoner over around 10 hours. They believe the Left government should pull out another bill that estranges adivasi privileges over their property. So they secure themselves, with the authority, at his office with a few ammo and begin exchanges.
The film takes us through the dramatization of the intervention between the four and the public authority, addressed by the central secretary, played by Prakash Raj. The organization's advantage is more in hiding any hint of failure with races coming up and getting the official out without hurt. As the ‘pada’ follow the news to perceive how their dissent is being seen, they are goaded to observe that an authority proclamation recommends that the police don't have any idea what their identity is for sure their requests are; the organization plays it astutely to seem like the casualties of psychological militants. However, these are an energetic and canny four. They know things at the grassroots level and in any case. Whenever the authority cites the Geneva Convention on prisoner privileges, they know how to counter it and when he says he is administration disapproved and has assisted in an ancestral land issue, they again call attention to that he couldn't complete the program effectively.
Do things get settled agreeably? The public authority gives a transitory treatment and the film closes with visuals of the genuine occasion and lets us know how the things showed up for the four and not just how the miserable condition of how ancestral land privileges proceed, yet additionally the way that those inside the organization are not saved in the event that they don't fall in line.
The four primary entertainers are amazing, supplementing each other impeccably, and causing us to feel thoughtful and stirred, while never being over emotional. A unique notice to Arjun Radhakrishnan, who plays gatherer Ajay Sripad Dange, who holds his own when in a real sense secured in a room with our most grounded entertainers. He carries nobility and capacity to his job, and makes a precarious person truly affable. Side entertainers, as Indrans and others, likewise perform well indeed.
The film begins a little hazy and the consistent emotional BGM by writer Vishnu Vijay over the exchanges don't help; yet the adivasi melodies have a delightful, provincial beat. The cinematography by Sameer Thahir and the altering by Shan Mohammed keep the emotional speed of the film and however an enormous piece of it is shot in a room, it is very much caught and feels claustrophobic just at minutes when the film requires it.
Essentially, essayist chief Kamal KM involved a striking occurrence in the State's political history and changed over it into a decent film with a convincing, intriguing screenplay, impeccably caught scenes that convey the totally different times as well as the working of our administration workplaces, and extraordinary acting. This is an energetically suggested film for all.
