![]() The Marathi collector represents a percentage of civilians who have faith in the judiciary system, and it is through education and legal assistance that they hope to bring forth change. He was aware of the Palakkad district crisis, and he was going through the nitty-gritty legalities required to bring reform into action. ![]() The collector represented the government and hoped to bring changes by working within the system. The film explores the relationship that developed between the collector and the activists over an issue that they wanted to resolve, albeit in vastly different ways. A drama that demanded quick action, that decided to bring the fight of the marginalized into prominence, and that was able to cause discomfort to all those in power. To think about it later, the hostage situation was nothing short of a theater drama unraveling. Rakesh responded that he was now involved with a theater group, and they required the materials to build a few fake pieces of equipment. They checked his bag and found dozens of broken pipes, wires, and ropes. But after enquiring about it, they found that he was acquitted. They recognized him from a past case in which he was accused of burning down a bus. The police noticed a member of the Ayyankali Pada, Rakesh Kanhangad, on the streets the previous morning and drove him to the police station. It worked in their favor as they were able to assemble the bombs and dynamite. The Ayyankali Pada had planned to hold the collector hostage on the 3rd, but the absence of Dange led to a change of plan. The film keeps its focus steady by not exploring anything beyond the act it only deals with the 3rd and 4th of October. It was their form of protest for the oppressed it was through disruption that they hoped the State Government would take action according to their demand. The collector, Dange, wanted to resolve the matter through conversation, but the activists wanted immediate action. The police were instructed to take no drastic steps for the safety of the hostage. With a gun in their possession, along with dynamite and bombs, the group locked the collector in a room. The collector, Ajay Shripad Dang, entered his office in Palakkad and was held hostage by four men who entered the premises as visitors. The morning of October 4, 1996, was unlike any other. While the fight for land, forest and water continues for the Adivasis, “Pada” brings the conversation into the mainstream. ![]() The controversial Bill passed by the Kerala Government in the interest of the Adivasis, in effect, made it impossible to restore alienated lands to them. Their demand was for the Kerala government to revoke the 1996 amendment of the Kerala Scheduled Tribes (Restriction of Transfer of Land and Restoration of Alienated Land) Act 1975. The “Ayyankali Pada,” named after the eminent social reformer Ayyankali, advocated for the rights of the Adivasi community. Kamal K.M brilliantly brings together the difference in ideology and the similarity in purpose between the “Ayyankali Pada” activists and the collector, Ajay Shripad Dange (based on W.R. The way the film deals with the incident is commendable. While all might not agree with the way they fought, the necessity of radical protest cannot be dismissed.
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