Veeran (Karthi) is a vagabond and ruffian in a village simmering with caste tensions. Displaying consistence in his direction inspite of the versatility in his movies' Paruthiveeran Songs Masstamilan genres, he presents a rural tale of love and violence in But with his third venture, the director proves that he is here to stay and deserves to be on that list on par with - or maybe, even above - those two. Maybe another 14 will have such video clips retitled ‘How not to talk to women’, ‘This isn’t love’, ‘When Men issued threats to proclaim love’, ‘You call this a proposal?’ But I sincerely hope it takes far less time.When there is talk about young directors who are going to lead Tamil cinema into the next generation, Ameer is never mentioned in the same breath as, say, Selvaraghavan or Gautham Menon. It’s taken me 14 years to pick up the cues I missed the first time. But one look at the videos on Youtube under ‘ Paruthiveeran best scenes’, you’ll find the clip where he threatens to chop Muthazhagu to pieces if she doesn’t marry him titled as ’Super Scene’. And as usual the woman had to bear the brunt of it. It is a twisted love story with a very tragic end. But did his tears glorify him? Did his guilt? I don’t think so.
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Is it going to take another 14 years to feel ‘those were the days’ about Paruthiveeran? While we are more vocal now and call out patriarchy, it all just seems to swirl in the comments section.
#Karthi paruthiveeran padri movie#
What’s shocking after having watched the movie after so many years is that this is still a familiar story. And then there are those like Muthazhagu who choose variants of the same. If Muthazhagu was shown another world, another way of being, I’m sure she would’ve chosen differently. There are ones like her mother who propagate it as is evident in her shrill diatribe against education and how it poisons women. For the women of Paruthiveeran including the rebellious Muthazhagu have been co-opted into the patriarchal fold. Or, the known devil - Paruthiveeran with his mockery-laced dialect and threats of dismembering her in the guise of love and affection.But it would take a lot more than love to break out of this pattern. The choice is between her ultra-casteist father who will choose her husband for the sake of propriety and glory of caste. What sets Muthazhagu apart is that she chooses the kind of violence she wants to make her home with. It peppers their everyday and is relished quite like that peppery rasam at the end of a meal by curious neighbours and onlookers, just cupping their hands out for more. And they engage in it as freely and frequently as the men do. Looking at the women of Paruthiveeran, you know that violence is scheduled in their lifestyle. Within such a stifling construct, she rebels. Or, the way the young lackey who hangs around Paurthiveeran speaks with such derision to women.īut it’s Muthazhagu who keeps me watching. Take for instance young Paruthiveeran’s lack of understanding of ‘consent’ when he kisses the girl Muthazhagu forcefully. A look at Gender Hegemony going hand-in-hand with casteism while perpetuating misogyny, and its prevalence in society. Paruthiveeran doesn’t make any pretences - this is a slice of life from our caste-steeped villages. But what makes it uncomfortable is that both the protection and predation stem from the need to possess. It’s instinct that sometimes comes in handy against the lurking perversions. Something that’s generationally passed down to us. It’s an instinct that we’re all familiar with. Maybe it’s because of the Social Media boom and how we get to hear opinions, thoughts and experiences of patriarchy being discussed openly around the world. It’s made us more attuned to such portrayals and pick up on the intention that has framed it in such a way - a woman as something to be protected and as belonging to someone.
![karthi paruthiveeran padri karthi paruthiveeran padri](https://i.ytimg.com/vi/JdRf57vBEzM/maxresdefault.jpg)
Muthazhagu ensconced among her family as she prays, says so much to me now than it did in 2007. Right from Scene 1 at the temple fair, things were unsettling.