Karki: A Lackluster Remake That Misses the Mark on Caste Issues
A Disappointing Adaptation
Just fifteen minutes into director Pavithran's film, it became clear that I had encountered this story in a different language before. Indeed, Karki is a remake of the 2018 Tamil film Pariyerum Perumal, and it feels entirely unnecessary.
Typically, remakes are deemed redundant unless they elevate the original material in some significant way.
This version reduces the original's sharp critique of caste discrimination to a simplistic street performance, where viewers are lured in with free snacks for enduring the show. The humor, featuring the rural protagonist Muttu (Jai Prakash Reddy) and his classmate (Sadhu Kokila), detracts from the serious themes of caste-based romance.
The film lacks any noteworthy qualities. Its presentation borders on tacky, with shots appearing haphazardly arranged, devoid of a coherent structure or vision. The village scenes, which introduce the metaphor of a threatened canine community, are poorly executed and lack clarity.
The depiction of violence against lower castes is sporadic and fails to convey the urgency present in the original. This is primarily due to the overall subpar acting in this lackluster remake. The menacing figure from the original, hired by the upper-class heroine's father to eliminate the Dalit protagonist, is rendered as an inconsequential character here.
Karki, unlike its predecessor, lacks the incisive commentary needed to explore the socio-political dynamics that perpetuate caste inequalities. Instead, we witness a boy expressing factional loyalties, insisting on Kannada as the medium of instruction in college rather than English.
Ironically, the pursuit of 'learning English' is portrayed as a symbol of advancement in this shallow narrative, with Muttu's love interest Jo (Meenakshi Dinesh) taking it upon herself to teach him the urban language.
At times, the storyline seems to contradict its own arguments. Muttu faces assault from Jo's father's goons at a wedding, yet later, he is seen sitting with Jo's father. This forced social 'equalization' implies a triumph for the caste-challenged protagonist, while the underlying issues remain unaddressed.
By oversimplifying the conflict between the privileged and the marginalized—clumsily aligning the struggles of the underprivileged with that of dogs—this film ultimately undermines the ongoing fight for equality. The eradication of the caste system remains elusive, and a film like this does little to contribute to the cause.