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Name: Draupathi – Unleash the Madness
Genre: Action, Romance, Thriller
Release Year: 2020
Bear in mind this debatable punchline out of Sivakarthikeyan’s Remo? (Controlling girls is tough, but perplexing is unaffected.) Imagine if this was tweaked a little, substituting’women’ using an innocent audience owning a shallow thought about casteism? Mohan G’s Draupathi is a movie based on this idea.
Unlike some former caste-worship movies which made laughing stocks of these using their OTT therapy, Draupathi pulls on a ruse by maintaining the flavor subtle. I’m all for the representation of various communities in theatre. However, demonizing a whole community is something that deserves severe condemnation.
In 1 scene, we see a bunch of women anticipating their faculty bus, and also a philanderer attempts to lure them with wicked intentions.
The victim is revealed to be nothing less than the angel, whose only intent is to research and make her father proud.
No points for guessing the cheering girls and Romeo belong to this’ particular community. These individuals from who’ community will also be the masterminds behind the bogus marriage racket, so the cola mill that blows out the prosperity of our agricultural lands, and the list goes on.
Although I was initially hoping to remain invested in decoding the manager’s point of view, the ever-increasing collection of accusations just made me laugh out loud. Mohan presumably refrained from accusing’ that’ community of becoming the reason aliens do not visit us, only as a result of time limitations.
I’d have been less bothered if all of this was revealed as a story occurring in another reality, but, alas, Draupathi tries so tight to prove itself as a manifestation of truth. The manner filmmaker Mohan whitewashes honor killings and presents an alternate history that again points palms that’ community, could be thought of as a heinous offense or applauded for its creativity. Even if we leave aside the casteist angle, then Draupathi fares no better as a movie with its fair producing and inconsistent performances.
Draupadi might have been an intriguing vigilante revenge play taking on the defects in the union registry system. The method by which in which the protagonist’s catastrophe is joined to the bogus marriage racket of 2014, under which over 3500 pseudo unions were registered, really sounds intriguing. But is lost after Mohan begins his finger-pointing.
Though we barely get to view kaadhal, the naadagam piece matches given the drama-like implementation. Rishi Richard’s Rudhra Prabhakar is revealed as a martial-arts coach, but nearly all of the fights from the movie resemble awkward faceoffs involving middle-school backbenchers. Even though part of me was pleased to see Richard getting some long-pending visibility, it was saddening to realize it had been showered on one of the weakest works within a morally-conflicting movie.
I sort of honored Mohan’s respect for his work and the way he keeps making references to his introduction, Pazhaya Vannarapettai, during this movie. That self-indulgent inspection is the point at which the film unmasks its motives with no inhibitions and yells aloud, “Casteism is your remedy.”
The abrupt cheers with this particular sequence in a theater full of people whom I presumed to be somewhat innovative, flirty, and furious me in precisely the same moment. The movie goes on to say the caste-based branch will put an end to a lot of issues. If a film wants to say separation is your answer in 2020, I suppose we’re left to state the only thing folks have to be separated off is these functions of hate.
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