2023, Tamil, Theater Release, 7.3/10 IMDB, Directed by Mari Selvaraj
A diligently made chapter, that chronicles discrimination fuelled by casteism. The rounded screenplay not only addresses the associated snowballing pain, but also lauds reaping the fruit of handling them the right way. The ‘optics’ of walk the paths, proves tiresome in places, but the ‘intent’ of the maker, lets you practice forgiveness.
Why make movies that speak about things of the past, is the frequently debated question amongst the elite. But discrimination is one such invasive phenomena that needs constant check, to strike the right balance in the society. Visual medium needn’t always be branded as an instigating factor that rekindles the pain of the past, rather it’s a caution, not to walk those thorny paths, ever again.
The 2022 movie ‘Till’, https://www.youtube.com/watch?v=rkQi6GBwmSA a biographical drama, narrates the true story of Mamie Till-Mobley’s battle, seeking justice for the murder of her 14-year-old son, Emmette Till, in 1995, who was lynched to death in Mississippi. ‘The Emmett Till Anti – Lynching Act’, a law more than 100 years in the making, was signed in on March 29th 2022, just six odd months prior to the movie’s release in October the same year. It might be a mere political agenda of the west, but if the ‘so called’ developed countries are at it, we better continue to be at it as well, in our ‘so called’ secular country, where ‘lynching’ is loitering our everyday news.
Remembering our history every now and then is critical for us to flourish as a nation, by reflecting on the good, bad and the truth in it. Darkness and denials can hide much but can never erase history. Only by accepting the truth comes, healing and justice. It sounds preachy, but definitely echoes the pain of the weak.
Unjust or prejudicial treatment of masses, needs constant iron fisting, else we would start regressing before we could even realize it. Mari Selvaraj’s past work had been similar toned, but on different levels. His first venture ends by initiating a ‘dialogue’ between the oppressor and the oppressed. His second venture went one step further, cueing to grab one’s rights at any cost. His third venture, Maamannan, is a biographical wail on the discriminative treatment he experienced during his childhood, narrated from the perspective of the ‘suppressed’ and addresses how to unshackle the tag from within.
The 1992 film ‘Thevar Magan’s ‘Sakthivelu’ character, whose genotype on tweaking with ‘Mayan’s character, might lead you to Maamannan’s ‘Rathnavelu’ character, who can very well be a friend of the cousin duo’s in the ‘Bioscope Universe’, if one such phenomena does exist. The director’s characterisation of a focused antagonist, with much clarity on what he wants, was beautifully brought to life, by Fahadh Faasil, the ‘legend’, its time we call him that. Director Mari Selvaraj’s seamless ‘inter cuts’ to project a composite introductory sequence, by contrasting alternate shots of the two prime characters, both introduces the premise and as well reveals the crux.
Mari Selvaraj surpasses metaphors and symbolism in his third venture. He instead, lengthens into allegories, personifying rearing pigs to rearing humans, who are unaware that they are being psychologically repressed. He even goes to symbolize Fahad’s regressive behaviour by juxtaposing him in an old ruined house and a ravaged car, where he seems to find solace, inferring, he is clinging on to the old notions, inculcated when young by his fore fathers. On the contrary, Udhay’s protagonist role, also clings on to the past by rearing pigs, but the key is, he awaits an opportunity to bring in holistic changes, in his father’s beliefs, his society’s thought process and in the polity of the masses, that his father is a part of.
Vadivelu, playing the title role, has the role of his lifetime, next best to his ‘Isakki’ character from Thevar Magan. The actor’s grimace of pain and deceit, his serenity when troubled, his respect for his wife, leaves one speechless. We have seen the actor in roles that are more than mere comical, like in Emtan Magan. But here, Vadivelu’s character demands more than just a serious looking grim face. He comes a full circle, for we see him as a slave who doesn’t have a voice, to becoming an untold ‘messiah’ to set the slaves free, from their shackles. And the actor shoulders his responsibilities promptly as he never strays away to his old comical self, not in one frame. The well-seasoned comedian, devours the meaty role and I was reminded of the legendary actor Sivaji Ganesan himself in more than one instance. Vadivelu caressing his wife’s feet, to coax her to calm her anxiety and his constant pleads to his son, not to react in anger, adds finer layers to the character, which Vadivelu convincingly pulls off.
Fahad gets in to the skin of the characters that he gets to play, we know that. But here, He kind of teases the audience, tempting them to decode the actor’s on-screen thought process and emotional surges. His character is completely unpredictable and surprisingly the contemplations on his thoughts, beautifully translates to the audience, through his minimal body language and controlled expressions. The actor nails in executing the character’s alter ego, in perfect measures, by reflecting it in his on-screen persona.
Keerthi Suresh convinces you with her crucial role, which moves the story forward and she seems to give her best. A. R. Rahman’s score, paints ‘pain’ in a different color. Theni Eshwar captures the milieu of Salem and the location familiarity as a fellow Salemite was a boon and a bane, as I was left constantly to overcome the urge of identifying the houses, bridges and magnesites of my home town. But the intensity in the narration, engaged me and kept me invested in the plot, for most part of it.
The director’s attempt to illustrate and invalidate the humiliation, affiliated to a ‘pig rearer’, as an identity to his bottom carder of the caste pyramid, is noble. It was beautifully analogized in the pen ultimate scene where Udhay’s mother, played by the fantastic Geetha Kailasam, shivers with fear, just like the piglet, who lost its entire community, falling prey to a ‘dog rearer’s’ hatred.
The works of the director, were hailed by many, irrespective of their castes, but I have my doubts if the upper crust attempted to digest the intention of the maker in its fullest, rather than just appreciating it’s artistic worth. If the sight of a ‘piglet’ onscreen, despises even a single viewer, it translates that the hardship of representing the pain of the discriminated masses, aren’t just enough.
Was fondly reminded of the 1977 anti-caste movie ‘Agraharathil Kazhuthai’ by John Abraham, https://www.youtube.com/watch?v=_pBTtAue0rA which itself was his ode to Robert Bresson’s 1966 french movie ‘ Au Hasard Balthazar’ https://www.youtube.com/watch?v=eL8MuxXB_Eg
Five decades later, if directors are forced to take the ‘metanarrative’ route to mirror human conditions, it is time we understand the significance and necessity to end our inner repugnance- first towards the ‘so-called’ lowly animal, a ‘pig’ in this case and then towards the humans who rear them for living or care for, as their pet.