Unda (2019)

Unda

Unda is an understated police drama set in the northern regions of India during an election. Reportedly based on a true story, the film follows a group of policemen from Kerala who are sent to safeguard voting in a remote rural area of Chhattisgarh supposedly under attack by Maoists. Mammootty sheds his star persona in the role of a police sub-inspector and is joined by an excellent support cast of assorted police, local villagers and Indo-Tibetan Border Police. With an under-prepared and inexperienced group of men facing challenges far beyond their previous experience, the film explores the differences that divide India as well as exploring the similarities that should provide unity.

The film starts in Kerala with the police team led by C.I. Mathews Anthony (Ranjith) packing up their equipment and heading north by train. But their problems start when they arrive and find their transport to the camp has been delayed. When it does turn up, instead of buses the men are put into open trucks and taken to the local ITBP camp. But here they find that there isn’t room for all of them, and SI Manikandan (Mammootty) is sent off with his small group of men to a cabin in the woods near to a small village. Once there, the men are confused by the situation and totally oblivious to the differences between their own state and the area they find themselves. Local ITBP officer Kapil Dev (Bhagwan Tiwari) does his best to explain, while his Commandant (Chien Ho Liao) is simply frustrated by their lack of knowledge. To add insult to injury, the team have no supplies. Expecting to pick up ammunition and weapons on site, Mathews and his team are dismayed to learn that all they will have is the equipment they brought. Although they send an emergency request home, it seems unlikely that anything will reach them in time, and there are rumours of Maoists throughout the area.

The police are a disparate group and argue amongst themselves as they are frightened, far from home and disadvantaged by their inability to speak the language. Despite having been a police officer for many years, Manikandan has never had to fire his gun or deal with the kind of sustained tension he has to endure in the camp. His men have their own issues too. One of the police officers has a young wife who is about to have their first baby, while another is constantly on the phone to his new fiancée. Jojo (Shine Tom Chacko) is going through an acrimonious divorce caused by his infidelity. Although he keeps calling his wife, it’s not until he is faced with death that he manages to apologise for his treatment of her, and of course by that time it is far too late. Biju (Lukman) is dealing with prejudice from his colleagues because he comes from a lower caste. Although it’s passed off as ‘joking’, the hurt and alienation that the abuse causes is well portrayed and hopefully will raise some awareness that prejudice is never a ‘joking’ matter.

While Kapil Dev tries to teach the men how to survive in Chhattisgarh by turning off the lights late at night, avoiding mines in the area and keeping a low profile, the local villagers also prove a point of contention. After using up all their water by washing, the police seem totally oblivious to the hardship they have caused. When the local headman Kunalchand (Omkar Das Manikpuri) comes to explain their situation, the police are suspicious and suspect him and his family of being Maoists. But as Kunalchand later complains after his son is taken away by the ITPB and he himself is beaten by masked men, the authorities accuse the villagers of being Maoists, and the Maosits accuse them of collusion with the security forces. Whatever happens, Kunalchand and the villagers will never win and the harsh reality is that they are gradually being forced out of their homes.

When trouble comes, it isn’t Maoists who bring death and destruction – for all the talk, no Maoists are ever seen. Instead it’s corrupt politicians and their thugs who cause the biggest problem and who almost succeed in overcoming the badly outnumbered police force. The lack of support from their own leaders, corruption in the local government and lack of experience of the men themselves all conspire to put the police team in a very precarious position indeed. But it’s their own personal demons that are the biggest barriers they need to overcome.

Unda is a slow burn of a film. Most of the action consists of normal everyday activity such as patrolling the area, getting the camp ready for election day and Mankikandan’s trips back to the ITPB base to follow up on his desperate request for more bullets. Even when there are explosions or gunshots in the night, it’s the reactions of the men that are the focus of the film, rather than the activity in the woods surrounding the camp. In many ways this is more a film about India, but one contained within a tale about a group of Keralan police in a more Northern state. The big issues of language, caste, tribal rights, corruption and terrorism are all brought in to the screenplay as the small group of displaced policemen try to carry out their duties in the most hostile circumstances they have ever faced. The breakdown within the members of the group as they are subject to the constant threat of death from the Maoists and to the contempt of the ITBP is a key point, as is the camaraderie that develops between them as a result of their circumstances. This intermingling of personal issues with the weightier ones of politics and social justice is well done and although there are a few missteps, for the most part the screenplay by Khalid Rahman and Harshad works well. There are well-written moments of comedy and a good blend of personal and group-related drama. Overall, Unda is a good solid drama, well written with excellent performances and directed with a steady hand by Khalid Rahman. Well worth watching and highly rcommended.

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Kammatipaadam

Kammatipaadam

Rajeev Ravi’s 2016 film Kammatipaadam is a dark thriller that tells the story of an ex-gang member’s search for his estranged best friend, who has disappeared under suspicious circumstances. It’s also a stark social commentary, as the film documents the urbanisation of a rural area and shows how poor farmers were forced out to make way for high rises and shopping malls for the rich. P. Balachandran’s screenplay explores the violent world of the gangs and the harsh realities of life for the marginalised poor while adding mystery and suspense with the search for the missing Ganga. Although Dulquer Salmaan is excellent in the lead role, the film really belongs to Vinayakan and Manikandan Achari who are both outstanding as the missing Ganga and his gangster brother Balan. While the film is overlong at almost 3 hours, this is an excellent slice of gangster life, Kerala style, and impresses with a realistic, brutal storyline and gritty memorable characters.

The film starts with an injured middle-aged Krishnan (Dulquer Salmaan) flagging down a bus somewhere in Kerala. In a series of flashbacks, intercut with current events, he remembers his childhood and his life as a young man in the fields of Kammatipaadam before they vanished under the high-rises of Kochi. Krishnan and Ganga’s friendship is gradually revealed in an intricate and detailed story, painting a vivid picture of life for the poorest and most marginalised members of society, but also describing a rich and deep friendship that is enough to draw Krishnan from his settled life in Mumbai back to the dangers of his youth.

The scenes describing Krishnan’s early life are detailed and set the scene to explain why later, despite everything that has happened between them, Krishnan still responds to Ganga’s call for help. When Krishnan’s father (P. Balachandran) moves the family to Kammatipaadam, young Krishnan and Ganga become inseparable friends despite their different backgrounds – Ganga comes from a Dalit family, while Krishnan’s family are middle class and generally appear better off. However, caste is no barrier to the two boys and although Krishna’s older sister (Muthumani) seems appalled by the friendship, Krishnan’s father doesn’t seem to have any real issues with his son’s relationship with the local Dalit community. Ultimately though, it’s Ganga whose influence takes Krishnan away from his family and leads him into a life of crime.

As children, the boys witness a brutal killing when Ganga’s elder brother Balan (Manikandan R Achari) attempts to murder a local thug. This seems to set them on the path of rowdyism and as they grow older, they become part of Balan’s gang, doing odd jobs and fighting as required. What makes this part of the film so watchable is the persona of Balan. He’s charismatic and outspoken with a larger than life personality and an almost theatrical approach to defending his place in the local underworld. There is an awesome fight scene outside a movie theatre where Balan fights everyone before leaping up on a car to sell movie tickets – making his entire performance a brash advertising stunt as well as driving away his rivals in the business!

Balan runs an illegal alcohol business with local entrepreneur Ashan aka Surendran (Anil Nedumangad) Both Ganga and Krishnan eagerly join in with Krishnan acting as a driver for the smugglers. However not everyone is a fan of Balan’s style and Johnny (Shine Tom Chacko), a rival for the smuggling trade, sets out to bring Balan and his gang down.

While all this is going on there is another rivalry developing closer to home. Almost since their first meeting, Krishnan and Anitha (Shaun Romy) have fallen in love, but Ganga expects to marry his cousin and resents her attachment to Krishnan. Ganga’s path seems easier after Krishnan is sent to jail for attacking a police officer, but this is only a temporary hiccup and the two reconnect on Krishnan’s release. Dulquher and Shaun Romy have good chemistry at the start, but it’s the change to their relationship when they meet again years later that really impresses. Anitha reveals her resentment at the way Krishnan and Ganga treated her as a commodity while Krishnan has to deal with his memories and regrets. Unfortunately, Rajeev Ravi doesn’t go back to this part of Krishnan’s story, so we’re left to wonder what will become of Anitha who seems to be the loser in every respect.

Balan and his gang act as enforcers, and one of their jobs is to evict farmers from areas where the developers want to build. They don’t even seem to notice when their own land starts to be fenced off, but when Balan’s grandfather objects to his family being involved in pushing other Dalits off the land, Balan sees the error of his ways and decides to ‘retire’ from his life of crime. Balan has also become married to Rosamma (Amalda Liz)) but before he can settle down, Balan is killed and Ganga blames his childhood friend for his brother’s death. This is the final straw for Ganga and it leads to the estrangement between the two men.

However, when he is in trouble, Ganga calls his old friend, sparking Krishnan’s return to Kammatipaadam to find out what has happened.  As Krishnan searches for Ganga he is forced to face his past and come to terms with the bleakness of his friend’s life after Balan’s death. While members of the gang like Majeed (Vijay Kumar) have prospered, Ganga is still living in the past and involved in the seedy underbelly of Ernakulam. The mystery deepens when Krishnan himself is attacked and it seems as if no-one else wants to know what has happened to Ganga.

Kammatipaadam is a study of characters and each is so realistic and well-drawn that it’s easy to become involved in their lives and care about what happens to them. The film spans roughly thirty years and I was amazed at how successfully Dulquer shows his character’s aging in his mannerisms, gait and stance. As a young man, he is arrogant and cocky, with a confidence that shows in his walk and his dialogues. But when he returns to Kammatipaadam, he’s older, moves more slowly and stiffly and to some degree, thinks before he speaks. He really gets into the heart of Krishnan and his friendship with Ganga comes alive onscreen, while the small glances and covert looks are enough to convey the entirety of his romance with Anitha. However as good as Dulquer is, he is equalled by Vinayakan who puts his heart and soul into his portrayal of Ganga. Here there is loyalty and devotion. Here too, a poor man who makes his living exploiting other poor men and pisses away the profit with his drinking problem. Manikandan R Achari is also superb as Balan with his loud brash exterior hiding a man capable of greater understanding but without the wherewithal to allow his dreams free rein. These are the petty gangsters who so often make up the fodder in the big herocentric films, but this time the story is about them and their short and violent lives. The actors who portray the young Krishnan and Ganga are also excellent with Shalu Rahim in particular setting up Krishna very well for Dulquer Salmaan to smoothly take over as the character matures. But even the young kids at the start are fantastic, and again have all the same characteristics as their older selves.

The minor characters all have their own brief story arc that adds layers of complexity to the film. Krishnan’s father has his own issues, illustrated perfectly when he goes to pick up his son from prison but leaves empty-handed. Even Rosamma, Balan’s wife and surely an inconsequential character in most other gangster films, has a greater role to play than expected and turns out to be a better gangster than her husband or her brother-in-law. The story of Ganga’s disappearance and Krishnan’s search is simply the top layer that sits over the excellent character studies and underlying thread of the exploitation and eviction of the Dalits. The film also looks amazing, with excellent cinematography from Madhu Neelakantan although I would expect nothing less from Rajeev Ravi given his own work as a cinematographer in Hindi cinema. The songs too are interesting, with references to the plight of the Dalits and their lack of a permanent and safe place to live while Krishna Kumar’s background score is unobtrusive but effective in adding to the overall richness of the film.

However all of this depth of characterisation and attention to detail comes with a price. The film is overlong and does drag in places, particularly in the second half. A fight scene in the prison and one in a bus station are overly drawn out and the build up to the final scene is rather indulgent. Still, the film succeeds at drawing a picture of the violent and desperate side of life as a small time gangster, and the brilliant performances and characterisations ensure that Kammatipaadam is a film that stays with you long after the end credits roll. Fascinating, thought-provoking and a lesson in the birth of Kochi all in one – 4 stars.