Maamannan is a cinematic precursor to a new democratic upsurge in Tamil Nadu. It transcends the boundaries of a conventional political thriller and becomes a cinematic embodiment of the socio-political narrative unfolding in Tamil Nadu.
This analysis is not a movie review and explores the film’s symbolism and profound political context within Tamil Nadu. It highlights the potential to deepen democracy within the state.
The Tamil-language film is written and directed by Mari Selvaraj and produced by Udhayanidhi Stalin. The movie features Vadivelu, Fahadh Faasil, Keerthy Suresh, and Udhayanidhi Stalin himself.
The film challenges the present paradigm, the status quo of Tamil Nadu’s existing social justice politics, often termed as dominant caste politics. It brings forward the aspirations of the Scheduled Caste, the ‘permanent bottom’ of Tamil society, a term coined by Isabel Wilkerson in her book Caste: The Origins of Our Discontents. She uses this term for the Black people in what she calls the US caste system. The movie shows a path to resolve the conflict within the constitutional framework. It does not provide any romantic, radical, violent and unrealistic solution, which is the normative idea in Indian cinema. Rather the party leading the social justice movement goes through the process of metamorphosis.
The social justice movement in Tamil Nadu was largely led by the OBCs against Brahmin hegemony, serving the purpose of justice to a certain extent. During that time, the Dalits were not assertive, and the conflict between the OBCs and the Dalits was not so pronounced. However, the situation has now changed, with an assertive Dalit middle-class emerging as a social fact in Tamil Nadu. The DMK must accommodate this social force, which may be challenging for some OBCs as they will have to shed their privileged position.
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DMK, Stalin, Maamannan
The plot of Maamannan revolves around the ascent of a lower caste man (played by Udhayanidhi Stalin) to one of the highest political positions in the state and at the same time highlights the ugliness of power and caste dynamics of the society. This trajectory underscores the struggle for a ‘seat at the table’ in the political arena and questions the notions of entitlement and servitude. The struggle begins when the son of a SC MLA forces him to take a seat in front of the dominant caste haughty heir of a deceased politician. The narrative highlights the struggle for representation in the political arena.
It is unusual that a film produced by Udhayanidhi Stalin, Tamil Nadu Chief Minister MK Stalin’s son, critiques the present political system. The film’s fictional political party’s top leadership believes in social justice. He always puts a statue of Dravida Kazhagam leader Periyar on his conference table. He also looks like him. At the same time, his party harbours characters like Rathnavel (played by Fahadh Faasil), who wants to protect caste privileges in a violent manner. This stark representation uncovers the paradox where caste, despite being condemned, plays a significant role in winning elections, even for a party that supposedly champions social justice.
This might be the dilemma the Dravida Munnetra Kazhagam (DMK) is presently facing when democracy is deepening and vulnerable sections of the society are becoming more assertive and, in that process, antagonising the dominant caste. In the movie, Rathnavel refuses to accept the democratic transition within the party and revolts. He joins the opposition party.
Within the context of Maamannan, the concept of the second democratic upsurge in Tamil Nadu is powerfully embodied and explored. The film serves as a cinematic catalyst, propelling the audience to contemplate and engage with the unresolved conflicts that exist between dominant backward castes and the SC community, within the intricate socio-political fabric of the state.
Eminent political scientist Yogendra Yadav, in his essay in a book, identified two democratic upsurges in Indian politics. In the chapter, Understanding the Second Democratic Upsurge: Trends of Bahujan Participation in Electoral Politics in the 1990s, Yadav argues that the first democratic upsurge occurred in the late 1960s, leading to the end of the “Congress-system” dominance and the rise of opposition parties challenging the party in various states. This upsurge was driven by the active involvement of Other Backward Castes (OBCs) in the electoral process. The second upsurge took place in the 1990s, characterised by higher voter turnout, increased political mobilisation of marginalised communities, and the availability of new political choices. This upsurge was also linked to the release of OBC energy in politics due to the implementation of the Mandal Commission recommendations. Overall, both upsurges centered on the significant role played by OBCs in shaping Indian politics.
Through its narrative, Maamannan offers a compelling portrayal of the struggle for representation and justice in Tamil Nadu. The political rise of the protagonist exemplifies the aspirations and challenges faced by marginalised communities in their quest for empowerment and equality. The movie sheds light on the power dynamics that pervade society, urging viewers to question the existing social and political hierarchy and the need for a comprehensive democratic transformation.
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Profound symbolism
The film’s critical examination of the political system goes beyond a superficial analysis of social justice. It daringly exposes the contradictions and complexities that arise between the dominant backward caste and the former untouchables within the system itself. Maamannan uncovers the flaws in electoral politics and confronts the harsh reality that caste, despite being condemned, continues to influence electoral outcomes. In doing so, the film underscores the necessity of a second democratic upsurge in Tamil Nadu that goes beyond the Brahmin and non-Brahmin binary and addresses the deep-seated conflicts and disparities among non-Brahmin communities.
Symbolism plays a significant role in Maamannan. The contrast between the hunting dogs owned by the antagonist and the pigs owned by the protagonist serves as a potent metaphor for the socio-political dynamics of the caste system. There are no cows to signify Brahmins in the movie. That makes the movie more non-linear and complex. Udhayanidhi rearing pigs and having a pig tattoo is a symbol that one can’t just miss. The portrait and voice recording of BR Ambedkar and a statue of Buddha add to the symbolism of the movie. The protagonist’s family raises an orphaned pig as a pet in their house, which is quite unusual for a commercial movie. It forces viewers, and at the same time DMK leadership, to confront the uncomfortable realities embedded within society. This symbolism adds depth to the film’s exploration of the need for a transformative democratic movement that transcends traditional hierarchies.
Maamannan effectively draws attention to the unresolved conflicts within the caste system and advocates for a comprehensive societal transformation. The film sparks critical discourse, inviting viewers to reflect on the need for an inclusive and just society that addresses the disparities among marginalised communities.
The film’s nuanced portrayal of politics in Tamil Nadu is evident in the representation of the fictional party, which appears to draw inspiration from the DMK (Dravida Munnetra Kazhagam). From the flag to the name and various other aspects, the similarities are impossible to ignore. This has sparked speculation about Maamannan potentially being a propaganda film. While such interpretations are inevitable, they highlight the film’s ability to impact the political landscape.
Through its profound symbolism and challenging narrative, Maamannan offers a glimpse into the impending democratic upsurge that will redefine the political landscape in Tamil Nadu. It serves as a testament to the winds of change stirring up the social and political dynamics of the state, setting the stage for a more inclusive and egalitarian society.
Dilip Mandal is the former managing editor of India Today Hindi Magazine, and has authored books on media and sociology. He tweets @Profdilipmandal. Views are personal.
(Edited by Ratan Priya)