Chennai: Cinema is not just a medium of entertainment, but conveys a larger message to the society. In the past several decades, it has brought a lot of changes socially and politically. A State where cinema is considered an integral part of daily life, activists today allege that casteism and communal ideologies have started to dominate the big screen.
Speaking to News Today, Ananda Krishnan, an industry tracker says, “Movies glorifying a particular caste had been made now and then. But much recently it has increased. The likes of Bala, Sasikumar, Muthiah are known for it. And on the other side, Ranjith’s films revolve around the travails of Dalits and speak from a victim’s angle.”
He adds, “With social media getting very strong these days, films that dwell on caste issues gets discussed a lot. And when mass heroes like Rajinikanth play the lead in such movies, they get more attention. Sadly not just the industry even the audience inside cinema halls are divided on caste and communal lines.”
Ranjith has been a strong advocate of films that speak about the social inequalities that Dalits face. His films Attakathi, Madras, Kabali and Kaala are fine examples. When he chose to bankroll movies came Pariyerum Perumal.”
Muthiah’s Komban and his next Devarattam too have been witnessing protests. However Tamilzharasan, an ardent movie-buff, differs from Ananda Krishnan. He says, ‘Such films are not new phenomenon. Take the case of Balachander and Bharathiraja. The former came out with films that spoke against a majority community. He championed the cause of womanhood. And Bharathiraja, who took cinemas from studios to rural villages, tried to break caste-divide. His films Alaigal Oivadhillai or Vedham Pudhidhu spoke in volumes against caste oppression.”
Kamal Haasan, who is known for his rationalist ideas, saw enough controversy when he came up with Devar Magan in 1991. Several politicians waved a red flag. And he saw more trouble when he titled one of his movies as Sandiyar. Following pressure from Puthiya Thamizhagam president Dr Krishnaswamy, he had to rename it as Virumandi.
Call it a fresh trouble, as Krishnasamy recently warned Kamal Haasan against proceeding with his proposed film titled Devar Magan 2, contending that the title had caused immense trouble to members of the Devendrakula Vellalar community in southern Tamilnadu in 1993, when the first instalment, Devar Magan, was released.
In a letter to Kamal Haasan, posted on social media, Krishnasamy said that the actor-politician should follow his ĀcentristĀ political point of view and name his film Devendirar Magan this time around. Kamal Haasan has maintained that Devar Magan 2 may not be the title.
Says an activist Kannan, “Censor rules should be strict. They should come up with rules to ensure that no scene in a movie offends the sentiments of any particular community or caste.”
Vanniyarasu, a VCK leader, says, “Films like Pariyerum Perumal speak about the inequalities loud and clear, It pictures the pain and sufferings of Dalits. Such films create an awareness. We are against those which glorify a particular section.”
But a section feels cinema is a reflection of society and politicians target film personalities to gain some publicity. Krishnaswamy opposed the title when Kamal Haasan announced it for his movie. But when a lesser known actor named his film as Sandiyar, there was no protest.”