When the SC pronounced the verdict of the disproportionate assets case, after 20 years of spirited legal struggle, justice had been delivered. The prime accused, former CM Jayalalitha and her associates including the present general secretary of the AIADMK Sasikala was adjudged guilty of misuse of office, disproportionate assets, criminal conspiracy and corruption. The SC held that Jaya and co. have involved in planned conspiracies to accumulate wealth to the extent that the public prosecutor Justice Acharya said, he considered writing a book on the methods of fraud adopted by Jaya to indulge in corruption and later dropped it, because he feared that would serve as a ‘Guide to corruption’ for years to follow. The public in Tamil Nadu celebrated the judgement by which Sasikala lost her right to contest in elections for ten years. An irony was that, even ADMK leaders from non – Sasikala faction celebrated this judgement explanatory of their political knowledge. The media in TN, also focussed this as a judgement against Sasikala, still justifying their glorification of Jaya as the personification of purity and sacrifice. We cannot but stress on the fact that the Tamil media is highly brahminical, thus biased and have lost any affinity to truth or justice. This distortion by the media is strongly condemnable. The SC verdict has established beyond reasonable doubt that Jaya was extensively corrupt and unjust to the people of TN who voted for her. It has indeed said that Jaya accommodated Sasikala with cold-blooded calculation to keep herself secure from any legal complications which may arise from their criminal activities. The media and the intelligentsia should stop glorifying a convicted criminal who was corrupt, dictatorial and cunning towards people. The civil society should reject any leader or party which claims this corrupt autocrat to be their idol. Photos of this convicted criminal should be removed from public offices as they can encourage corruption. The delayed justice which has changed the fate of TN is also deeply regretted.
ஒருவாரமாக உலகமே விழாக்கோலம் பூண்டிருந்தது,
அமெரிக்க அதிபரின் வாழ்த்துகளோடு
இந்திய விவசாயிகளின் மகிழ்ச்சியோடு
கரையாத நாட்டுப்புறக் கலைஞர்களோடு
இந்த இரவை விடியலுக்காகக் கொண்டாடித் தீர்த்தனர் மக்கள்,
അരമുള്ള ഈർച്ചവാൾ ആ മരമുത്തശ്ശന്റെ പരുപരുത്ത മേനിയിൽ രാകിയിട്ട് പോയപ്പഴേ എല്ലാവർക്കും കാര്യം പിടികിട്ടി. ആ ദിവസം എത്താറായി. മുത്തശ്ശനെ ഉലച്ചുകൊണ്ട് കിളിക്കൂട്ടം ഒന്ന് പിടഞ്ഞു. മർക്കട വീരന്മാർ എങ്ങോട്ടെന്നില്ലാതെ ശിഖരങ്ങളിൽ നിന്ന് മറ്റൊന്നിലേക്ക് ചാടിക്കൊണ്ടിരുന്നു. വേഴാമ്പൽ അപ്പോഴും ഒരു താപസിയെപ്പോലെ ചക്രവാള സീമയിലേക്ക് കണ്ണും നട്ടിരുന്നു. ഈർച്ചവാളിന്റെ മുറിക്കണ്ണില് നിന്നും അശ്രു ബിന്ദുക്കൾ ഒഴുകിയിറങ്ങി. മുറിവുണക്കാൻ തനിക്കു സാധിക്കുമെങ്കിലും ചുരുങ്ങിയ ദിവസങ്ങൾക്കുള്ളിൽ ആ പാടുമായിക്കാൻ മാത്രം വേഗതയിൽ തന്റെ കോശങ്ങൾ ഇപ്പൊ വിഭജിക്കുന്നില്ലെന്ന സത്യം നന്നായിട്ടറിയുന്ന മുത്തശ്ശൻ മീനച്ചൂടിലെ കാറ്റിനോടെങ്കിലും എനിക്ക് ജയിക്കണമെന്ന വാശിയിൽ തലകുനിക്കാതെ, ശിഖരങ്ങൾ അനക്കി വായുദേവനെ വന്ദിച്ചു.
അവസാനത്തെ സൂര്യ രശ്മിയും ഭൂമിയിൽ തട്ടി ഇരുട്ടിലലിഞ്ഞപ്പോഴേക്കും ആ കുടുംബം അവിടെ ഒന്നിച്ചു കൂടി. മുത്തശ്ശന്റെ എളിയിൽ പൊന്നോമനയെ പോലെ ആ അണ്ണാൻ കുഞ്ഞ് പതുങ്ങിയിരുന്നു. മറ്റൊരു താവളം തേടിയുള്ള യാത്രക്കായി എല്ലാവരും ഒരുങ്ങുമ്പോഴും അണ്ണാൻ കുഞ്ഞ് ഒന്നും മിണ്ടാതെ മുതുകിലെ മൂന്നു പാരമ്പര്യ രേഖകളും പേറി അവിടിരുന്നു.
തന്നെ വരിഞ്ഞുമുറുക്കി കഷ്ണിക്കുന്ന ക്രൂര സ്വപ്നത്തിൽനിന്നും മുത്തശ്ശൻ തണുത്ത കാറ്റേറ്റ് ഞെട്ടി ഉണർന്നു. മീനച്ചൂടിലേക്ക് വീണ ആദ്യത്തെ മഴത്തുള്ളി വറചട്ടിയിലേക്ക് വീണ എണ്ണ തുള്ളിയെപ്പോലെ ആവിയായി. ആകാശത്തിന്റെ ആ അന്ത്യകൂദാശ തികഞ്ഞ ശാന്തതയോടെ ഏറ്റുവാങ്ങി ഭൂമിദേവിക്ക് അത്യന്തം ലോലതയോടെ കൈമാറി. കീഴിലുള്ള ഓരോ പുൽ നാമ്പും മഴതുള്ളികളെ ആർദ്രതയോടെ കൈമാറിയ മുത്തശ്ശനെ നന്ദിയോടെ വണങ്ങി. മാമ്പഴം പെറുക്കി പോകുന്ന ഓരോ കുരുന്നും സ്നേഹമുള്ള നോട്ടം കൈമാറി.
“ഇനീം വൈകിക്കാൻ പറ്റില്ല! ഇടവപ്പാതി ഇങ്ങെത്തിയെന്നാ തോന്നണെ, രാഘവാ, ഇപ്പോതന്നെ നീ അതങ്ങു തീർത്തു കള” കാരണവർ പറഞ്ഞു തീർത്തിട്ടു പണ്ട് ഊഞ്ഞാലാടിയും കണ്ണാരം പൊത്തിയും കളിച്ചു തിമിർത്ത മാവിൻചോട്ടിൽ അവനുള്ള ഉപഹാരവുമായി രാഘവന് കാത്തിരുന്നു. അമ്പതു മുഴം കയറ്! അപ്പോഴും കുഞ്ഞിലകൾ ഇളം കാറ്റിൽ ആടിക്കളിപ്പിച്ചു കാരണവരെ മുത്തശ്ശൻ തന്റെ തണലിലേക്ക് ചേർത്ത് നിർത്തി.
ഇടവപ്പാതി കഴിഞ്ഞു … കാറ്റിൽ വസന്തത്തിന്റെ ചേല് വന്നു… മണ്ണിൽ പൂക്കളുടെ ദൃശ്യമിഴിവു വന്നു… ആ മരക്കുറ്റിയിൽ പുത്തൻ നാമ്പുകളും! ഒരു വിജയിയെപ്പോലെ ആ പുതു നാമ്പ് സൂര്യനെ അഭിമുഖീകരിച്ചു നിന്നു. നാടൻ ഭാഷയിൽ പറഞ്ഞാൽ എന്നെ തോല്പിക്കാനാവില്ല മക്കളെ എന്ന് അത് ഓർമിപ്പിച്ചു. പ്രഭാതത്തിലെ സൂര്യന്റെ മഞ്ഞ രശ്മികൾ ആ നാമ്പിന് പുത്തൻ ഓജസ്സുനൽകി. അത് തലയുയർത്തി സൂര്യരശ്മികൾ ഏറ്റുവാങ്ങി, എല്ലാം നേരിടാനായി ശിരസ്സുയർത്തിത്തന്നെ!
Once again, Suseenthran and Vishnu Vishal brings caste atrocities into narrative, this time with Maaveeran Kittu. Despite the lapses the movie has in creating an efficient drama, it still holds significance as it talks about the evils of the caste system in an undisguised form. While it has two of the ultimate weapons against casteism discussed – democracy and love, there is an utter disregard for the revolutionary potential of the latter that breaks caste and class boundaries. There is a clumsy distance between fiction and reality in the film. Kittu, the ‘threat’ to upper caste men, is shown to have an agency for him almost everywhere else apart from the police station. What is more unreal is Chinnarasu’s plan in which Kittu is asked to get caught and beaten up by the police (read turn himself into a pawn) and the postman’s intervention because of which he is freed, perhaps the only instance when the SI does not want to take law into his own hands. But there are other significant depictions in the movie that should be discussed seriously- that of the issue of the public path, the irrationality of untouchability, the bureaucracy and police in lieu with the upper caste men, the naattaamai and the naattukoottam as the villain rather than one single person as is usual, and the timeline of the movie which helps the audience reflect how caste has clung on like moss. The most important of all such is Chinnarasu, who is the only remaining spokesperson for the downtrodden masses. While the naattukoottam wants him dead so as to end the lower caste people’s ‘arrogance’, he resolutely fights within the democratic framework. He educates his brethren that there is nobody to stand up for them, neither the government nor the leftist political parties, but themselves. He says, “We are not against everyone in power. We are against the very notion of power”. What also has to be appreciated is that Kittu’s sacrifice is not glorified. Rather the movie grieves that it takes an injustice of such magnitude for the oppressed voices to be heard. The reasonable success in the box office should make it as a precedent for better movies to emerge in the future – movies that talk not only about the spectacular incidents but also of the everyday discriminations of caste system which lingers as a plague in the society.
There she was, sitting on the verandah with her cat (who is so full of himself!). Her clothes were damp with detergents and sweat after a long day of work at home. It was that day of the month where her mom rushes early in the morning to the ration shop with all the bags and containers as all the other women. And she barely sees her dad these days, he leaves early and comes home late. The cat and aatha keeps her company other than her constantly tired hands. Whenever Gundamma finds a penny or two, she hides it under a rock near a huge banyan tree at the end of their street. It was her emergency piggy bank. She also uses them to get betel leaves for aatha. Anyway, that evening, there were lot of JCBs and trucks in her lane making it all noisy. She came to know that some company has bought a big chunk of land nearby from some farmers to put up a belt of solar panels. They have been clearing up the land and all the trees around for this and most of the people on her street didn’t actually know why they are putting this up! She was trying hard to explain it to aatha while she was munching on the leaves. She was kinda angry that she lost a whole lot of coins she saved to the solar panels. She saw a man coming towards her asking for some water. She gave him a bowl of water and asked him, “ why are you doing this?”. He wasn’t very much interested in answering her, he snorted back with, “ you get electricity! Now you can sit under the fan all day! Haha, dumb girl!”. He left. Anyway, she saw her mother coming back with bags half filled and helped her with it. She was panting and sweating with parched lips, asking for water as she came and sat beside the cat and sighed, “ it’s so hot outside! I carried the bags on my head for shade”. And she dozed off as the bags were lying under their broken fan.
My taste in music is weird. Many people share the same opinion, but it just doesn’t appeal to me that way. This may be my narcissism talking, as I begin to realize that there is a strange pleasure in keeping my weird tastes intact and people writing me off as a non-conventional personality. I can take off my earphones now.
They call it the ‘writer’s block’. This utterly demotivating instance happens to me either when confronted with a magnitude of feelings and ideas that the grey matter in me refuses to cooperate to the heavy brute-force brain-racking that seems imminent, or when it is plain blank. Most people do talk about the block when they encounter the latter, which makes me feel that I tend to be lazy with respect to quality brain-time expenditure. The fact remains that I am scared- scared that I might hit the dumps if I start to go through my attic. The constituents of that are very intense, it is just like, “If I’d stare too long, I’d probably break down and cry.”
This is an inevitable part of life, I get to think countless times. Rummaging through the colonies of memories that expand as you go deeper, slowly splashing things back into great colour, and an instance later, it is as if yesterday came looking for its reunion with a long lost comrade. Stimulation that leads to such crevices in reality- I call it a crevice in reality as it may never happen again and is gone with the wind, leaving you with artifacts that end up in your mind space that, if gazed upon, takes you wondering and drowning you in fantasy- could be found in as simple as the playlist in your phone. I am not bothering to trouble the reader with the numbness I get to experience if I am left in front of an old cupboard of mine – because I am simply not capable of it. I may also go to the extent of warning those who hide their feelings in the most perfect of ways imaginable to them: Tread with extreme caution. It need not be the artifacts of war or tragedy that shake the entire foundations of the stories you try to darken out.
It takes me a while to get into Hyderabad. Thiruvarur has left a huge space, I try to fill it with words to make both ends meet. Words get wasted like drops in the ocean; crevices exist, large enough to drag me into it and make me meander. I try to make phone calls, and try to go looking for missing pieces. What do I know? It is a mistake I commit innumerable times, but never learn anything from. I can tell you that there is a certain pleasure to this pain that keeps me searching for more, like a frequent reveler who ran out of opium.
This writer’s block has me constricted well, and this has occurred as the editor contacted me a few days ago asking to ‘conjure something up’ for the next edition of Echo that was about to take off. For the traveller, this is quite comparable to the feeling of being chained up in a cell, and through the bars, he sees the roads he mastered, the people he smiled to, the hot sun he hitchhiked in, the roofs that sheltered him, the food that he ate, and what not. I dare not be explaining anymore, as I have reached my threshold again, and “If I’d stare too long, I’ll probably break down and cry”.
Keeping my cupboards and attics locked up, I have to muster more courage and venture into Hyderabad, or more precisely, Sangareddy. Mind you, IIT Hyderabad is far off from the city. This should make a good starting point. I really should start embracing this place. The dhaba nearby seems like a good place to start. The next time, I will have the block overcome.
It is almost for a month that the Tamil Nadu witnesses an uprise against extraction of hydrocarbon at Neduvasal in Pudukottai district. Youth and environmentalists have joined hands with the villagers and farmers of Neduvasal in this combat to save one of the fertile deltas of the state.
The project proposed consists of 31 sites for extracting hydrocarbon. This project will reduce India’s oil imports by 10% by 2022, as India imports 90% of its oil needs. As oil plays an influential role in global politics, reducing imports of oil and natural gas is a great boon. But can we do that at the cost of one of the fertile deltas of the country. The world is taking a turn towards sustainable and renewable energy. But India still is stuck in the conventional way of producing energy.
Moreover Tamil Nadu is been dumped with projects which cause huge damage the environment. Tamil Nadu has two nuclear power plants, and the people had struggle hard to chase the methane project away, and now comes the hydrocarbons project. The land acquisition method of the government as worse as a land mafia. The farmers are been pestered upon so often in order to get their land. In the land where exploratory well was dug by ONGC 2 kms away from Neduvasal has become barren. This has terrified the farmers of Neduvasal.
The government looks at Cauvery delta as an oil milching cow, they don’t look at how this delta feeds people and the mullions of people who live on the land and cultivate that.
Secrecy is still maintained in the method of extracting oil and natural gas from these lands, which is still terrifying because if methods like shale extraction is used it would damage water table of the land by polluting it. As these lands are located close to the shore, when oil is extracted there is more chance that sea water seeps in and makes the land and water saline. The cultivation in Neduvasal is completely dependant on bore wells.
We also witness centre’s indifference to the protest and state’s slow action. This shows how they are keen to implement the project no matter what are who is affected. The only solution in front of us right now is to protest.
A film has a great power of motivating our thoughts and actions than any other printed words or verbal piece of advice. In India, the film fraternity, one of the largest in the world, controls the dreams and hopes for thousands of audience for the past few decades, especially for the oppressed, discriminated and the marginalized who rely on cinema for a ray of hope. Our country still has discriminations based on gender, race, caste and status they belong to. The same continues with the CBFC in certifying movies, restricting our right to freedom of speech and expression.
Censor the board!
After the landslide victory in 2014 Parliament election, the far-right, conservative NDA government made CBFC into a puppet body by appointing Pahlaj Nihalani, a film producer who has no experience in evaluating movies, selected only on the basis of producing pro-NaMo videos during the electoral campaign, as the Chairman, along with nine members of BJP-RSS links. Restructuring existing staffing pattern in Central and Regional boards is the first and foremost thing that has to be barred. At present, the Chairman is also involved in the day-to-day affairs of certification of the films instead of being a guiding mechanism. Tyrannical!
Before I talk about some of the movies that were let down for its wonderful theme and presentation, let me pay a moment of silence to those movies that were murdered in the judging panel theatres of CBFC. Reasonable restrictions were practiced since the board’s formation but not all conclusions by the board make sense. As the filmmakers of the movie Udta Punjab were not ready to accept the 89 cuts recommended by the board, it was denied a certificate. But the favourable High Court verdict for the movie showed legally how conservative and narrow minded the censor board panel is, also indicating their irresponsibility.
With the recent issue of denying certification to Lipstick Under My Burkha for being a “lady-oriented” movie and the very recent Ka Bodyscpaes for “glorifying the subject of gay and homosexual relationship”, the board has once again proved that it doesn’t make any sense. The movie directed by Alankrita Shrivastava is being celebrated in foreign screens, winning awards in various categories while it is being refused at the nation, where the story revolves, with the lamest of the wrong reasons – “lady-oriented” “fantasy above life” “contentious sexual scenes” “audio pornography” “abusive words.” And if you think the movie is all about a particular community, you are wrong.
It is ridiculous to see the panel approving low-grade movies like MSG-The Messenger, which literally kills the effort and hard work of an art work by creative minds. I also read an article recently that the BJP Government of Haryana has encouraged MSG-2 by making it entertainment tax-free. Bravo! ‘Moonlight’ is widely acclaimed across the world, especially after winning as Academy award for Best Picture, but will be released after undergoing unnecessary cuts and replacements of words. Observing what happened to these movies, the government body is literally confining us to a certain “type” of movies, treating us as an immature citizen incapable of choosing what he or she needs. Surprisingly, those movies with beheading and bloodshed of battle field are graded U/A, where it would matter the children psychologically even if accompanied by their parents. Or let’s put it in this way, the board wants children to learn from unsuitable content for their age. Great.
Lights, Camera, Sleep!
The practice of playing with a few known alphabets like U (Universal), U/A, A and S grades right from the birth, by the board is boring and outdated. I think they were not aware about the progress the film industry has made, exploring the nuances of the society to find stories, while sleeping in “censor” theatre. The certification pattern must be made specific that will invite more audience of all age groups to watch a film they want. The silence of the Ministry of Information and Broadcasting headed by Venkaiah Naidu shows the lack of political will in implementing the two-part report of Shyam Benegal Committee which was submitted on April and October 2016 respectively. The committee that consists of experienced members and actors of the film industry, in their report, underlines “CBFC should only be a film certification body whose scope should be restricted to categorizing the suitability of the film to audience groups on the basis of age and maturity” with exceptions and “the applicant must specify the category of certification being sought and the target audience”. The committee also mentioned about the updated specific grading pattern of cinemas.
I believe that there will be some words that could sound abusive to a large group of people. But there are instances were abusive words doesn’t sound so for it is so relevant to that part of the movie. Finding an easy solution for the issue by deleting a list of words like ‘bitch’, ‘motherfucker’, ‘son of a bitch’, evidently points out how lazy the board is. After all, we are capable of judging what is right and what is wrong. I wonder why they aren’t hearing the voice of the audience, by encouraging a representation from the society, who pay their time and tax too at theatres. The artistic and creative expression is being muted when there is replacement of a words.
I dream a dream when I enter the theatre along with people from all walks of life, to open my eyes to fairness in justice, equality, unbiased, no appeasement to big banners, no religious appraisal and uncut cinema, with popcorn.
What are we having this liberty for? We are having this liberty to reform our social system which is full of inequalities, discrimination and other things, which conflict with our fundamental rights.
– Babasaheb Dr. Ambedkar,
Constitution Assembly debate
70 years after independence, we are not yet out of the grip of conservatism and orthodoxy. Why we have to fight the conservatives is because conservatism always favours the strong. The powerful remain powerful, while the oppressed continue to be oppressed. As our founding fathers wanted, we need to make India – a society of equals. India will continue to be a land of rich and varied cultural and religious heritage. But that can be no reason why our fellow citizens should be deprived of liberty and equality. This is why personal laws in India, currently based on religious codes, should be reformed in a gender just manner. However, not all change is reform. The BJP government’s adamant rhetoric on imposing an uniform civil code in the disguise of reform raises apprehension.
Great causes and little men often go ill together!
– Pandit Jawaharlal Nehru
Aadaminte Vaariyellu is a brilliant commentary on the social stigma faced by women in our society. The title itself is indicative of it- as though women are not something of their own but man’s. It is brilliant because it identifies women as a class. We have Alice, a rich “well-off” women, Vaasanthi a middle class bread winner and Ammini, who is abandoned by her kin.
As K. G. George narrates the tragedies that these women who adorn typical traditional roles assigned for them, he reveals the narrow and limited spaces that they enjoy in our utterly patriarchal society:
They are not free to travel and it is determined by factors other than their own (While Alice and Vaasanthi has to race against time and odds to reach back home before it is too dark, Ammini never ventures out at all). They do not have a say in the decisions that are made in the house, especially regarding money and their sexuality. Alice and Ammini are Maamachan Mothalali’s virtual slaves and Vaasanthi is subservient despite being sole the bread winner. Alice has often been pimped by her own husband for his material needs and turned into a bitter woman. She spends much of her time in front of the mirror (why?). Vaasanthi is molested by her own husband irrespective of the circumstances (He even jokes her illness as a craving for sex). Ammini is raped by Maamachan. The expression in her face when Maamachan approaches her reveals that she has no say nor choice. That she is silent in her reactions, even on the day after she was raped says enough and more about her freedom and rights. There is not much difference in the case of Alice and Vaasanthi either.
Almost everything about the movie seems to be purposeful. Much of it is shot where such exploitations take place- the kitchen, the bedroom, the common space in either houses where all three women are always pushed to the background. Nisha’s character is also intriguing as a young girl brought up under the system in neglect. Maamachan also remarks why he should spend on educating her as she has to be married off to someone. Vaasanthi’s workplace is another interesting depiction- a male dominated space where there are ill intentional remarks about the wife of an NRI who dresses fashionably and jokes about Vaasanthi’s tiredness as an obvious case of pregnancy.
All the women in the movie are living with just a ray of hope. For Alice it is Jose, a young architect she has fallen in love with. For Ammini, it is that of a marriage (huh!), that too only if Maamachan feels empathetic. For Vaasanthi, it is that someday soon, her husband will quit drinking (because that is what makes him bad). And soon enough, it fades. Jose washes off his hands, Ammini is raped by Maamachan and eventually ends up at a rescue home (from Alice’s words, she is lucky to be still alive. Perhaps something which her silent suffering bought her) and Vaasanthi resorts to insanity.
Dejected by all, Alice commits suicide. Vaasanthi’s doctor explains to her husband that her problem is only minimal, that a joined effort from his part with little compassion and care is all that she needs. Next, we see her taken into the asylum. But Ammini, who has lost everything, unlike Alice and Vaasanthi who have more to hold on to, from the very bottom manages to emancipate herself and those around her. Shown surrealistically, she responds to the drumbeats and liberates them in a revolutionary manner and breaks through the fourth wall. K. G. George signs off by saying that such a narration, even as prolific as this, won’t be able to encompass women. That this movie is only indicative and not all of it.