badelf
@badelf
Sudha Kongara's Soorarai Pottru is a rousing, exuberant film about the cost of disrupting entrenched power, and what it takes to drag an entire industry, kicking and screaming, into the 21st century. Inspired by the life of Captain G. R. Gopinath, founder of India's first low-cost airline, the film follows Nedumaaran Rajangam, called Maara (Suriya), a determined man from a remote village who dreams of making air travel affordable for ordinary Indians. What begins as a David-and-Goliath story about breaking aviation monopolies becomes something richer: a portrait of systemic corruption, government collusion, and the particular ruthlessness of capitalists who will risk others' lives to protect their profits. Maara's ambition is simple, almost naïve in its purity: he wants people like his parents to fly. But simplicity doesn't mean ease. The film chronicles his years-long battle against bureaucratic indifference, purchased government officials, and the aviation elite who view his vision as an existential threat. The villain here isn't a single antagonist but a structure, one built on the assumption that certain things, like air travel, should remain the province of the wealthy. When Maara refuses to accept this logic, the system responds with everything it has: regulatory roadblocks, sabotaged financing, and eventually, violence. The capitalists at the top don't just oppose him; they're willing to destroy him, and anyone else in the way, to maintain their grip. Suriya is in top form, playing Maara with a fierce, unyielding energy that never tips into caricature. He's stubborn, passionate, occasionally foolish, but always believable. The performance works because Suriya understands that Maara's fight isn't just economic; it's personal, tied to class, dignity, and the belief that the world can be remade if you refuse to stop pushing. Watching him navigate government offices, charm skeptical investors, and absorb one humiliation after another, you understand why people follow him, and why his enemies fear him. But half the fun of Soorarai Pottru is the relationship between Maara and his wife, Bommi (Aparna Balamurali). Bommi is an uncompromising feminist in a country that doesn't yet consider women equal, and her refusal to soften or accommodate creates a dynamic that's both tender and combustible. She doesn't exist to support Maara's dream; she has her own ambitions, her own pride, her own idea of what partnership should look like. Their marriage becomes a parallel to the larger story: Maara is trying to bring India's aviation industry into modernity, but he's also learning, in real time, what it means to live with an equal. The film doesn't resolve this tension easily. Bommi challenges him, frustrates him, and occasionally walks away from him, and Maara has to reckon with the fact that changing the world is easier than changing yourself. It's a lovely, complicated subplot that elevates the film beyond the standard biopic template. The film is long, and typically Indian in its exuberant storytelling; the runtime could have been trimmed, the emotional peaks dialed down a notch. But this is a minor complaint in a film that understands the stakes of its story. Soorarai Pottru isn't subtle about its politics. It shows, with unflinching clarity, what happens when indecent capitalists buy government employees and weaponize their power to crush competition, willing to risk others' lives to preserve their monopoly. The corruption isn't background detail; it's the engine of the conflict. It's not fiction, either in India or the USA. The Trump family has made almost $4 billion dollars since he took office. Amazon and Starbucks have committed illegal union-busting acts rather than pay starving workers a living wage. What makes Soorarai Pottru so satisfying is that it refuses to pretend the fight is fair or that good intentions are enough. Maara wins not because he's morally superior, but because he's relentless, willing to absorb blow after blow and keep moving. The film honors that persistence without romanticizing it. By the end, you've watched a man build something against impossible odds, not through heroism but through sheer bloody-minded refusal to quit. It's a film about power, about who gets to have it and who has to fight for it, and it delivers that story with passion, intelligence, and no small amount of joy.
