Story
Surya (Nani) is notorious for his temper. However, his dying mother instills a sense of control in him by advising him to dedicate one day each week (Saturday) to express his anger. On the other days, he must reflect and decide if his anger is truly justified. On the other hand, Daya (SJ Suryah) is a merciless cop with his own personal issues. There’s a village called Sokulapalem, known for being home to ex-convicts, where Daya often unleashes his fury whenever he’s upset. The rest of the story revolves around what happens when these two men, each driven by different kinds of anger and motivations, collide.
Artists Performance
Nani has been carefully choosing scripts that play to his strengths while expanding his range as an actor. In this film, he has opted for a unique action-oriented script. He delivers an outstanding performance as Surya, a character who reserves one day a week to unleash his rage on evil-doers. Nani's stylish presence shines in the action sequences. Known for his portrayal of family-oriented roles, Nani fits this aspect perfectly in the film as well. SJ Suryah's character is a standout, with director Vivek Athreya crafting a role that taps into Suryah’s sadistic streaks, both in dialogue and expression. Priyanka Arul Mohan is decent as the villain’s associate and the hero’s love interest. Sai Kumar excels as a father who kind of acts as the voiceover for Nani's character. Murali Sharma adds a touch of humor with his performance, while Harsha Vardhan is convincing as the villain's sidekick.
Story - screenplay - direction: The film's story introduces a fresh concept, blending both family dynamics and action. The village of Sokulapalem plays a crucial role, though Surya isn't from there; he becomes its defender. His conflict with Daya is tied to Sokulapalem, making the emotion more subdued until it turns personal due to the heroine's involvement toward the climax. Vivek Athreya’s screenplay is partially engaging, with a standout introduction of Daya's character—particularly the amusing yet revealing conversation between Daya and the auditor, showcasing Daya’s personal traits. The treatment of Daya’s character brings diversity to the narrative. A well-crafted scene in the house fight, where the hero is incapacitated but compelled to rise, is thoughtfully executed. Although Nani's films often feature charming and humorous moments, the director deliberately chooses to avoid comedy in this one. The climax is somewhat complex and doesn’t deliver the satisfying sense of triumph of good over evil. The director portrays the women in the hero’s family as independent and influential. The mother character is pivotal, giving equal importance to both her son and daughter. The film is narrated in chapters. The screenplay effectively uses the device of setting the clock 10 minutes ahead, cleverly tying it to a pivotal scene towards the climax.
Other departments: Jakes Bejoy's music stands out as a highlight of the film, with a captivating background score that enhances the experience. Murali G's cinematography complements the film's theme seamlessly. The dialogues are well-crafted, and Ram Lakshman's action sequences are impactful. Karthika Srinivas's editing is decent, and the production values by DVV banner are commendable.
Analysis: Saropidhaa Sanivaaram offers a unique storyline, focusing on a clash of rages between two individuals—one driven by good and the other by evil. Vivek Athreya, known for leaving his distinct mark on every film, has experimented with a different narrative style here as well. The film’s strengths lie in Nani’s performance, the intriguing villain’s characterization, and the novel approach. However, the runtime could have been tighter, and the pacing more brisk. Overall, Saropidhaa Sanivaaram is another distinct and unconventional film from Nani.
