The popular song “ Potri padadi ponne, Thevar Kaladi Manne ” from Kamal Haasan’s Thevar Magan usually sets the tone for party meetings organised by the All India Forward Bloc (AIFB), a Thevar-centric party. The use of such songs serves as an example of how cinematic imagination and, sometimes construction, impacts the collective psyche of a specific community.
According to film scholars, much of why it happens has its roots in history and changing political situation in the society. Film historian Theodore Bhaskaran observes that Tamil film narratives have constantly changed according to the political climate.
“The early Tamil movies made in the 1930s and 1940s unambiguously depicted caste. The criticism and mockery of the Brahmins in movies came with the rise of Dravidian parties. Along with it emerged the ‘casteless’ hero and ‘casteless’ movies. Glorification of caste-communities is a trend that emerged only in the nineties.”
Lyricist Thamarai, who takes a stand against caste, argues that it all started out as an “aesthetic and artistic intervention” in movies. “In the late 1970s and 1980s, cinema reinvented its narratives by embellishing its plot and characters with more details such as caste and dynamics of the place. It was considered more authentic. In the 90s, with the ascendance of backward classes in politics, cinema also reflected the trend. Right now, it has reached a stage where caste-pride has become common in our films. This mirrors how major political parties have helped in the growth of caste outfits in our society,” she says.
This is true in several ways. Young cadre of Thevar outfits fondly speak of Kamal Haasan’s Thevar Magan . “That is one of those films that provided an accurate glimpse of our society,” says an AIFB student leader.The post-Mandal era saw a slew of such films, among them Vijayakant’s Chinna Gounder , Sarathkumar’s Nattamai , and Rajinikanth’s Ejaman , all of which constructed the role of a charitable and just landlord. It was a celebration of client-patron relationship in villages. “These movies openly glorified landlords and their way of life,” says Mr. Bhaskaran.
In the last few years, movies such as Sundarapandian , Sandakozhi and Komban were criticised for reinforcing “caste-pride.” When controversy over actor Karthi’s Komban erupted a few months back VCK general secretary Ravi Kumar demanded that movies that “slip in caste pride” should not get exemption from entertainment tax.
“In the name of capturing the rural life, several films valourised certain castes. I would say that the phenomenon of ‘honour’ killings is directly connected to how certain castes have been imagined in popular culture — which is largely influenced by movies in Tamil Nadu,” he says. He criticises the CBFC for not taking a stand on such movies. “Will the CBFC allow a movie that shows extreme violence against women in a gleeful way? Why shouldn’t the CBFC extend the same logic to casteist movies?”
Stalin Rajangam, assistant professor at American College, says that every politically powerful community will also exert its influence over modes of cultural production. “The idea of valour and charity associated with a specific caste is imagined. In south, there have been several instances where the Devendrakula Vellalars [Dalits] have also hit back quite vehemently at the dominant castes. But nobody makes movies about them. The reason is that they don’t have political power,” he argues.
