Oru Sarkar Ulpannam: Good Intentions Can’t Save Predictable Drama

The concluding 15-20 minutes of the film “Oru Sarkar Ulpannam,” previously titled “Oru Bharatha Sarkar Ulpannam,” unfolds within a courtroom setting where a citizen confronts the government. Within this segment, certain moments carry poignant emotional weight, leading me to ponder whether the film could have been better suited as a legal drama. However, amidst a narrative that meanders, laced with humor that often feels disconnected from the film’s core essence, this offering from Ranjith TV leans heavily into preachiness and lacks cohesion.

At the heart of the story is Pradeepan, a painter hailing from Kannur, who stands as the central figure alongside his wife, Shyama, and their four children. The narrative takes a turn when Divya, a newly appointed Asha worker in their Panchayath, is tasked with locating a man with more than three children to fulfill the government’s criteria for Panchayath recognition by persuading him to undergo a vasectomy. The film, “Oru Sarkar Ulpannam,” delves into Divya’s attempts to convince Pradeepan to undergo the procedure and the subsequent repercussions.

Before delving further into the film’s critique, it is worth noting the obstinacy displayed by the Central Board of Film Certification in changing the film’s title—a decision that seemingly underscores a lack of appreciation for the essence of the film itself. Now, turning to the film, the primary issue lies within its script. The narrative struggles to align itself with a distinct genre. Initially, the film offers a blend of rough-edged humor interwoven with attempts at political satire. At points, the storyline veers towards a clash between science and superstition.

However, as the film progresses into its latter half, it transitions into a more emotionally charged narrative. Yet, the final act, set within the courtroom, feels more like a convenient escape route rather than a compelling exploration of the lackluster implementation of government schemes.

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