A little respite now and then -- Sabari
COMMITTED TO THE COMMERCIAL FORMAT: Sabari
Sabari
Genre: Action
Director: Suresh
Cast: Vijayakanth; Jyothirmayi; Malavika
Storyline: A doctor's anger against erring society.
Bottomline: The usual line, with a little finesse.
The leading man is a doc this time and that's about the only perceptible difference in Sri Saravana Creations' `Sabari' (U/A), a venture totally committed to the commercial format. Bespectacled, and soberly attired, the dignified Vijayakanth typifies the superhuman hero with a heart of gold. Appreciably it is a very underplayed performance from the actor — not once does he give voice to his real-life political moves and misgivings. Lengthy monologues have been given the go by. Thus Pattukottai Prabhakar's dialogue gains focus. Except for the final fight sequence, which defies all logic, it is a reasonably subtle presentation from Vijayakanth.
But who can tolerate the irritating histrionics of the wailing women of `Sabari'? Beginning with the old woman at the hospital to the husbandless employee (`Karuththamma' Rajashri) at the software firm none believes in restrained grieving. So it's howling all the way.
In fact, director Suresh (who also heads the story and screenplay departments) could have paid more attention to `Sabari's women characters as a whole. If they are good they are dim-witted (heroine Jyothirmayi and the Mother in the church, Reena) and if they are bad, they are loud (Aishwarya) and annoying (Malavika). Actually you feel sad for Malavika these days. In film after film she repeats the same obvious overtures at heroes and drools over their looks (!) It's time the actor sought some variety in characters. A med student unabashedly dancing on the hospital premises is ridiculous. (And did the name on the building actually read `Engineering College' (!)?)
The straightforward, conscientious doctor Sabari Vasan (Vijayakanth) refuses to turn a blind eye to the corruption of employees in the Government hospitals. Also around are the regular villains, the unethical bureaucracy, the fraudulent police force and the land mafia which crosses Sabari's path. So goes the rough and tumble ...
The usual format
Stereotypes are the bane of `Sabari.' Be it the sister, father, villain or henchman, they can easily slip into any of the innumerable films of the formula kind. Chief thug Vajravelu (Pratap Rawat) is all sound and no substance. So much so, he's more comical than frightening. Strangely, when his brother-in-law and confidant is awarded death sentence none even mentions moving the higher courts! Also when a group is trying to save the unconscious Vijayakanth from the stalking ruffians, it would have been much simpler if Jyothirmayi had stayed away, because she is the only face known to them. Suresh could have done away with such gaping gaffes.
For a change, Vijayakanth bids goodbye to garishly coloured costume.
Mani Sharma's theme music in the fight sequence is catchy, while beneath the resounding beats of the duets `Aavanna ... ' and `Oru Murai ... ' lie melodious notes. The scenes at the Rameswaram camp are so poignant that you can't but empathise with the suffering.
Now having said all these you can only add that Vijayakanth could have gone in for an innovative storyline, far removed from the run-of-the-mill rut.
MALATHI RANGARAJAN
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