2024, Tamil, Theatrical release, 7.6/10 IMDB, Directed by Pa. Ranjith
Published in Brardwaj Rangan’s Movie Blog https://baradwajrangan.wordpress.com/2024/08/17/readers-write-in-719-thangalaan-the-shaman/
An intelligently crafted oppression saga, backed by a committed team, strives to root back to the origin of ‘sufferings’. The makers, convincingly arrive at a novel premise by synthesizing two wisdom systems- the palaeolithic ‘Shamanism’ and the fifth century ‘Buddhism’. The narrative layers of Buddhist doctrine on caste, a personal agenda of the director, manages to come a full circle without much divergence, keeping the tonality in tact.
It is exhilarating to understand the mind space of Director Ranjith. He amalgamates wisdoms from two systems and interlinks them, to narrate a story of the oppressed, in a period film, with the Kolar Gold fields as its back drop. And he aptly calls it, ‘Thangalaan’ meaning ‘Son of Gold’.
Thangalan played by the riveting actor Vikram, performs outstandingly the three narratives of his character. The Veppur villager with his wife and children in North Arcot, a fierce ancestor of his, and the fifth century climax reveal. The stories that were passed on by his ancestors about the sorceress guarding the village’s gold ore, haunts him in his sleep and he almost wakes delusional. Yet Thangalaan passes it on to his children, as their bed time story.
Taking its origin from the Sanskrit word ‘Shraman’ which denotes a ‘religious ascetic’, or a ‘holy wanderer’, ‘Shamans’ are the world’s first story tellers. They used stories to alleviate pain, to heal body, mind and ‘spirit‘. Shamans were instrumental in passing on culture to descendants and teaching both lore and law. Ranjith plays our Shaman, for he narrates Thangalaan’s ancestor stories with gripping visuals and gory horror, of the sorceress ‘Aarathi’
Semiotics of Buddhism in Ranjith’s movies are nothing new, but the director chooses to dwell in depth this time, for it is the crux of Thangalaan’s plot. Broadly speaking, Buddhism attempts to bring the followers to a similar state of consciousness that Buddha attained. It generally involves analyzing one’s sufferings, to attain a state of awareness, and Ranjith leads us in to the world of Buddhism by doing just the same with his lead character. Thangalaan’s land is grabbed and he is pushed to slavery. He is forced to accompany a British gold hunting team along with few friends of his. The hero is seen ‘evaluating his sufferings‘ and braves to face his fear of the sorceress.
Thangalaan proceeds his journey, being persuaded by his own motto, ‘Only those who dares to die, gets to live‘, but his eyes are constantly searching to ‘see‘ the ‘unseen‘ from the lore about spirits. As he walks the Elephant Hill path, in sync with his ancestor’s gold hunt narrative, we viewers are left engrossed. The stories of the spirit begin to unfold for real, except the spirit of Aarathi is replaced with a Budhha’s statue as evidence, and Ranjith beautifully marries Shamanism and Buddhism.
The director gives references of kings including Tipu Sultan, who weren’t able to access the ore, as it proved dangerous owing to the reptile menace in the dry terrain and an ‘unseen force’ guarding the rock. In shamanic journey ‘sound‘ is used as a vehicle for shifting awareness inward and Ranjith seems to represent a high pitch shrill sound of the sorceress, as a medium, so Thangalaan could be reminded of the responsibilities of his ancestors.
The sorceress story might very well be a spin off to restrict people from mining the ores and depleting the wealth that rightfully belong to the tribe, as simple as the phrase, in Tamil, ‘poi sonna sami kanna kuthum’ translates, ‘if you lie, god will poke your eyes’. A tactic of insisting on a virtue by instilling fear in minds.
Ranjith chooses to narrate the guidance of the ‘animal skin clad helping spirits’ the very feature of shamanism, thus implying ‘Aarathi’ is a guiding spirit, who was misconceived to be evil. He also reiterates by spelling the Buddhist essence of the movie – when the cause of pain is identified, the ‘art of detachment‘ from worldly needs, is the solution to end ‘sufferings‘.
Parvathy Thiruvothu as Gengammal playing Thangalaan’s wife, is loud and loving. A mid aged mother of five, becomes a child herself when Thangalan buys blouses for the community’s women. Ecstasy in the women, the reaffirmation they seek from their respective husbands on wearing the blouses, and the dance of pride with their blouses on – it is Ranjith showcasing his women like he did with his Selvi from Kaala, his Kumudhavalli from Kabali and his Malayamma from Saarpatta Parambarai.
Maalavika Mohanan plays Aarathi, the spirit who is primarily the antagonist. Her performance is quite convincing, opposite the quintessential Vikram. Had there been a powerful cast, the likes of Nayanthara or the original choice of the team, Rashmika Mandhanna, would the clash of the Titans, been more dreading, I wondered.
Pasupathi’s role as a converted VaishnaviteGengupattar, is multi-dimensional and the actor aced it. But sadly, the character arc seemed suspended mid way, as the director limits the character’s scope only for caste reference. Same goes for Hari Krishnan and Preeti Karan, playing the newly married. Both their characters trails all through the film but fails to connect to the viewers, as much as it should have. The screenplay becomes frenzied and one doesn’t feel the pain of them falling prey to the Britisher’s greed.
Daniel Caltagirone’s character Lord Clement is pitched beautifully but ends in a haste midst the chaotic rush towards the end. The shocking change in the character’s motive doesn’t make the impact it ought to have.
Vikram is an actor who surrenders to the role he plays and volunteers to add more facets to the character, but as Thangalaan, he sets a new bench mark for actors across the globe. Sporting an earthy native matted hair-do, his loinclothed toned legs, the keloid scars creeping from his fore head to his half shaven skull, the slushy body, deluded eyes with constant fear and an honest naivety in dialogue delivery, just loud enough for the sync sound microphones- Vikram ‘births‘ Ranjith’s ‘Thangalaan‘ alive.
Hayao Miyazaki, an internationally acclaimed Japanese animator film maker known for his respect towards spirits of trees and woods, rivers and seas, says, “Call them Gods, Spirits, Nature or Environment. They are there if we know where to look, and their gifts for us are ready if we know how to ask. We have only to approach them as a child would, with open eyes and open hearts”.
From Ferngully to Avatar, from the subdued Tamil movie Thane to the blockbuster Kannada movie Kantara, however small or big, we celebrated the spirits that intend to protect the tribes who were assigned to guard the environment. And Thangalaan is our very own version of the Japanese ‘Kami’ which means, deity, divinity or spirit. It is Ranjith’s calling, to protect natural resources, adhering to the well-wishing guarding spirits. He infers to fight it out if need be and even if it means by sacrificing life, while doing it.
Tangalaan stitches his clothes, only to wear it back again, with exemplary pride. The clothes that he earned in respect from the British Lord, the ones that were purposefully torn in insult. Ranjith inches his revolt further forward with Thangalaan, in demanding respect for the oppressed, like he did with all his heroes, for ‘perseverance is many short races one after the other‘.