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.