Oru Sarkar Ulpannam emerged in the media when the censor board sensationally requested the filmmakers to omit the term ‘Bharatha’ from the original title Oru Bharatha Sarkar Ulppannam. After watching the film, however, all one feels is the sense of loss and attempts to understand why they did not try harder with the revising committee. The first name was as compelling as any – it describes this rather subtle social commentary on family planning in several sentences.
It begins with crowd-building everyday characters in and around a kasara god village. A calm countryside that is known for a temple where childless women and men worship at with the hopes of conceiving. Alas, the ignorance of the Indian government programmes to encourage male sterilization or more appropriately family planning as it is known to us.
Newly appointed ASHA worker Divya (Gouri G Kishan), pressed to identify one member from among the men of her village who would undergo no scalpel vasectomy (NSV) and who had more than three children, is compelled by the health inspector to produce. She walks around the whole village trying to look for men fitting her criteria but does not manage to do so.
Plaster Pa 16 as Atna, Sreekanth, Sijo Kicil, Ruben dons the roles of students, paint worker Pradeepan (Subish Sudhi) and his family. He is a loving husband to Shyama (Shelly) who is an understanding homemaker and a father of four sons.
His eldest son is often mocked because of the ability of his father. On the other hand, Subash admired Divya. He is a colleague Pradeepan respects as a brother. At first, Pradeepan does not find either Divya’s assertiveness, or her husband’s desire to impress her worth answering. He simply ignores her.
Pradeepan unknowingly signs consent document that was put in front of him with other men and has surgery. After that he is subsequently commended by the health workers and the ruling political party in the local governing body but the same cannot be said about the temple priest who is angry with him on the decision that he has taken.
While relishing the newly acquired manly power something unpleasant surprisingly occurs to him in an ironical twist. An irreversible defect that forces the entire brood into the social pariahs and stigma of the supporting plight.
The study is all about how the family seeks legal redress from an indifferent system and an indifferent society, that seeks to explore the most controversial sterilization program in India.
In this Nizam Rawther’s simplistic screenplay, directed by TV Renjith, makes his directorial debut which is there and thereby probable. Economically scarred as it often is in onscreen depiction, the scanty interior of India’s about the ASHA workers and any other under-recognised medical professionals for that matter is handled with some truth owing to the health inspector background of Rawther.
His characters and their conflicts are relatable to the audience, however, their resolution is not dramatic to justify the whole David and Goliath commeo. The television series features literary love subpanels and a little child’s view of relationships and family orientation.
As an allied artist Subish Sudhi outshines all others as he accurately portrays his character while undergoing unnecessary embarrassment and how he has to endure around 4 or five emotional stages. She heads in the opposite direction in the role of Shyama bringing in a calm touch to Pradeepan’s vulnerable side yet full of emotions.
She and Vignesha bring two young warmers in ‘Kanakkupillil the Most Eventual Visit’ despite one being spews only in a minor infrastructural fashion. Mass Histrionics is not Your Typical Family Drama wardava moorkan as the title suggests.
This is one of those films called Oru Bharatha Sarkar Ulppannam where the attempt was to create a magnum opus which was almost there but not completely. I found this absolutely ludicrous but it was nonetheless amusing for the fans of a sweet approach to all politically minded picturebooks.
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