‘Alappuzha Gymkhana’ movie review: Khalid Rahman dodges genre coventions to deliver an effective sports comedy

A still from ‘Alappuzha Gymkhana’
| Photo Credit: Think Music India/YouTube

In Boxing, dodging a punch is probably as important as landing one. Filmmaker Khalid Rahman clearly knows a thing or two about this evasion technique, which he portrays so well in the elegantly staged boxing bouts in his fifth film, Alappuzha Gymkhana. Like a skilled boxer, he also gently evades the genre compulsions of making a sports movie, especially one that revolves around boxing. In doing so, he also breaks the expectations associated with him after the inventive Thallumaala. It is not surprising, though, for all his five films have hardly anything in common.

The attempts to break cliches in a sports movie is an endeavour fraught with risks, for it also means not going along that easy path with an endless supply of emotional highs and cheap thrills. Alappuzha Gymkhana does not deliver much of the latter but makes up with a relatable tale that spares a thought for those not cut out to win. The film is written in such a way as to make us think that we wouldn’t want it any other way.

The opening scene of Jojo Johnson (Naslen) and his gang, who have all failed in class twelve, celebrating their failure and planning for the next move, in a way, sets the tone for the film. The easy camaraderie and humour between this band of friends, making it seem like they have all grown up together, drives a good part of the film. They give and take friendly jabs and spiritedly fall together into the same hole they have dug for themselves. The decision to learn boxing to secure enough grace marks for higher studies happens to be one such decision. They are at that stage in life where mistakes are bound to be made while trying to figure out what they want to do with the rest of their lives. The film reflects that spirit, and this probably aids it in staying clear of the generic paths.

While the guys take much of the screen space, evidently less effort has gone into penning the female characters — except that of boxer Natasha (Anagha Maya Ravi), who reminds one of ‘Dancing Rose’ from Pa. Ranjith’sSarpatta Parambarai by almost turning the boxing ring into a dance floor. Jimshi Khalid’s camera turns the boxing bouts into a visual treat, with editor Nishadh Yusuf, who passed away in his prime, turning out one last memorable work. For a boxing film, not much blood is spilt on the screen. There is more fun and joy than blood in the film. Vishnu Vijay, who lent part of the magic to Thallumaala, has created songs that gel well with the mood of the boxing training and matches.

A still from ‘Alappuzha Gymkhana’
| Photo Credit:
Think Music India/YouTube

Naslen has taken remarkable strides from being the puffs-loving boy of Thanneer Mathan Dinangal to anchoring a film partly on the strength of his performance. But almost all of the youngsters — be it rapper Baby Jean or Ganapathi or Sandeep Pradeep or Franco Francis or Shiva Hariharan or Anagha — have pulled off performances that make the film an engaging watch. This might also be one of the reasons why the film works when it subverts the typical expectations from a hero or a climax.

Alappuzha Gymkhana will be remembered more for the artful dodges it made than the punches it landed. Sometimes, you don’t need a punch to make an impact.

Alappuzha Gymkhana is currently running in theatres