Yennanga Sir Unga Sattam by debutant Prabhu Jayaram. Which is a marriage of two unrelated stories separated by a space.
While the film relies heavily on the seriousness of the second half.
Which is filled with social commentary. In reality, the lighthearted first half works. Despite some disturbing imagery. We are treated to a hopeless romantic tale until this pause. It intertwined with humorous comments about caste and religion. After a break, we looked at this issue more cleanly. The film is aimed at the sky. But detailed captions. That ensure that it never rises above the ceiling.
The soft lining in the box-based reservation system that holds economically stable people from underdeveloped communities remains controversial. A recent court hearing also found that economic criteria cannot be the sole basis. For identifying the “soft stratum” of the underdeveloped class. Other factors such as social progress, education and employment are also important. However, there’s never been such nuance for a film that talks about overhauling the reservation system.
First of all, this film is about a Dalit and a Brahmin. The two young men who want to become priests and government officials in one breath is unfair. Presentation and performance make things worse. There are two main Dalits in this film: the “nice” Dalit Nanhan is shy. And doesn’t raise his voice even when beaten by strangers. However, the Dalit rebel against injustice is portrayed as a regular drinker and smoker. On the one hand, he is a priest and has been advised by others to control his natural temper. His name? Ranjit Dasan! Anything a director creates with dialogue against oppression is often marred by such offensive imagery.
The differences in the prehistory of Nanhan and the young Brahmin Jayaram are also apparent.
Although he received a detailed description that showed him to be a kind and polite man with a traumatic past. It resulted in a poor performance in an important interview. Nanhan, on the other hand, we are told, is just shy. No background here. He’s easy.
Recruitment officer Rohini Bhadrakali. Who argues that only the neediest candidates should land the job. It has used abuse and cybercrime to restore balance. Interviews with priests, on the other hand, are not morally better.
Yennanga Sir Unga Sattam is perhaps one of the few films. That discuss the discrimination of some Brahmins. Who perform the last rites (Brahmin Soundi). This is necessary documentation, of course, but inconvenient to compare it to the struggles of oppressed communities. The comparison is apples and oranges.
The film’s first story involving RS Karthik as a hopeless romantic JP also reeks of misrepresentation and stereotypes. JP’s Brahmin friend exaggerates Ayer’s accent and takes CA classes; a Muslim friend, on the other hand, sells beer.
The strength of this director is comedy. The funny episode where JP tries to direct “vivasaya” or the part. Where he thinks he’s a gangster and starts screaming “Chennai engaldhu da!” There’s a commotion in the tall buildings! This is a film that would better serve if you dive deeper into these rooms.
Yennanga Sir Unga Sattam is generally restless, though there are parts of it that are fun. He tries too hard to do so, leading to an experience akin to yelling at politicians in parliament. Everyone might be correct, but when they spoke at the same time, everything seemed like gossip.