Parking – Review

Rieting show In the cinematic realm of Parking, director Ramkumar Balakrishnan paints a compelling picture of the intricacies within middle-class families, brilliantly delving into the consequences of unbridled egos. The storyline revolves around Eshwar (Harish Kalyan) and Athika (Indhuja Ravichandran), a seemingly content couple expecting their first child. Their tranquil life takes a tumultuous turn when they move into a new home shared with government officer Ilamparuthi (MS Bhaskar), Selvi (Rama Rajendra), and Aparna (Prarthana Nathan). The catalyst for conflict arises when Eshwar parks his car, triggering a series of parking-related disputes with Ilamparuthi, ultimately leading to an egoistic battle with dire repercussions. Parking cleverly echoes the everyday struggles of middle-class living, reminiscent of the hit film Ayyappanum Koshiyum. The escalating tensions between Eshwar and Ilamparuthi escalate beyond parking squabbles, revealing toxic masculinity and its impact on their respective families. The performances by MS Bhaskar and Harish Kalyan stand out as the film’s pillars, with Bhaskar delivering a riveting portrayal of Ilamparuthi’s escalating ego. Harish Kalyan, entrenched in his character’s ego, presents a compelling performance that anchors the film. The narrative explores the collateral damage inflicted on the women in their lives, with Rama Rajendra’s portrayal adding depth to her character, especially in a scene where she confronts Ilamparuthi after years of suppression. While the first half captivates with its intense storytelling, the predictability seeps in during the second half. However, the film concludes on a high note, delivering a much-needed message to combat misogynistic behavior. Music director Sam CS’s background score perfectly complements the film’s atmosphere, enhancing the emotional resonance. Cinematographer Jiju Sunny and editor Philomin Raj contribute to the film’s overall cinematic quality. In essence, Parking poses poignant questions about male ego.