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10 changes in Vakeel Saab that dilute the spirit of Pink

Vakeel Saab, opened to packed houses earlier this month, marking Pawan Kalyan's return to the big screen after a three-year sabbatical. With Pawan Kalyan, a massive mainstream star, leading the remake of the female-centric indie-drama, Pink, the remake is a double-edged sword. Pink's Tamil iteration Nerkonda Paarvai (NKP), led by Ajith Kumar, was a near-faithful courtroom drama that brought in a few additives - a long action sequence before the intermission and a flashback - to cater to the actor's fanbase. Barring these changes, the film remained true to its source material. Vakeel Saab, on the other hand, has been rewritten to befit Pawan Kalyan's demi-god image. Does it manage to retain the essence of Pink? Partially. But in the process of making the film accessible to the masses, a few writing choices contradict Pink's core. Here are ten changes in Vakeel Saab that deflect from Pink and its Tamil counterpart, NKP.

Team CE

Published:29th Apr, 2021 at 3:55 PM

The peril was on our faces from the very beginning. While the lawyers are behind the girls in the first look posters of Pink and NKP they take a step back in Vakeel Saab's poster. And film.

Contrary to Pink and NKP, where the girls willingly join the guys at an afterparty, in Vakeel Saab, they are obliged to join the guys in a helpless state when their cab breaks down at midnight.

Unlike Meenal (Pink) and Meera (NKP), Pallavi in Vakeel Saab is neither a dancer nor does she sport a tattoo of birds, a symbol of freedom. Instead, she is a regular working woman. By doing so, the film makes her a relatable girl next door.

Owing to their professions Meenal and Meera are consistently under scrutiny, illustrating society's gaze towards certain professions. Vakeel Saab, however, erases this.

By making them 'traditional', the film boxes them into 'decent' category, whereas Pink argues that its wrong to label a woman decent or indecent by her attire.

While Falak (Pink) and Famitha (NKP) have a relationship with a much older divorcee, Zareena in Vakeel Saab has a morally acceptable relationship (fiancee). Another attempt to paint her ‘pure’.

While NKP's brief flashback solely focuses on Bharath's relationship with his wife, Vakeel Saab's lengthy flashback serves as an origin story of the lawyer and presents his humanitarian side.

After Pallavi is sexually assaulted for the second time in a car, the scene cuts to Satyadev hitting the assaulters for overspeeding in a residential area. It's only after that we get see her trauma.

In NKP, Bharath plainly warns the politician relative of the crooked criminal to fight him and the case in the court. Satyadev, however, warns that he will stand by the 'helpless' girls.

Similarly, the women's sexual abuse case becomes a conflict between a corrupt politician and the rightful lawyer.

Contrary to Pink and NKP, Pawan Kalyan's righteous defending lawyer doesn't question Pallavi about her virginity. The 'indecent' question is put forth by the 'villain' played by Prakash Raj.

And how does Satyadev react? He breaks the table in a fit of anger. His enraged reaction is appalling because the staging deludes us into believing that he is saving an innocent Pallavi's honour.

Bharath's fragile condition initially makes us question his capability as a lawyer. However, Satyadev's anger issue is played for mass moments (ex: breaking the table) and is barely explored.

When Falak and Famitha accept false accusations about taking money in exchange for sex, Deepak (Pink) and Bharath (NKP) commend them. In Vakeel Saab, Zareena apologises to Satya for letting him down.

Pink and NKP end with their woman, finally liberated of the false criminal charges, sharing a pleasant moment as the sunlight touches them. Vakeel Saab ends with a shot of Satyadev addressing his supporters.

These changes, although they look minimal on the surface, reflect the film's gaze and its effort to play safe, thus collectively diluting the essence of Pink.