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Mari Selvaraj’s film and protagonist are both titled Pariyerum Perumal (The God on a Horse) (Kathir). Pari — let’s call him that for the sake of this review — is a lower-caste teenager from a tiny town. When he enrols at the Government Law College in Tirunelveli, he feels like a fish out of sea. Jothi Mahalakshmi, called Jo (Anandhi), is an upper-caste and upper-class classmate. However, she is completely oblivious to these distinctions.

Mari Selvaraj is the director.

Kathir, Anandhi, and Marimuthu are among the cast members.

She just sees a reserved young man. She assists him in learning English, a language he is unfamiliar with but in which the college lecturers hold lessons. She becomes a close friend of mine. She starts to experience more intense emotions.

She extends an invitation to him to her sister’s wedding. (You can see how affluent she is since the wedding hall is named for her.) Her father (Marimuthu) grabs Pari’s hand and drags him inside a room. You already know what’s going to happen. You’ve seen it in a number of films on class and caste, such as Balaji Sakthivel’s Kadhal.

Pariyerum Perumal Trailer | Kathir, Anandhi | Santhosh Narayanan | Pa Ranjith | Mari Selvaraj

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However, two points stick out. The father comes first. He doesn’t say anything: “How dare you be friends with my daughter?” he doesn’t say. Do you think it’s smart to do this? His response is more dread and despair than rage: Do you think it’s wise to do this? If you keep going, not only will my people murder you, but they will also kill my daughter.

Is it a disguised threat or a desperate appeal from a father? Marimuthu’s nuanced acting brilliantly highlights this contrast. He doesn’t seem to dislike Pari, but he is constrained by society.

Second, it’s what occurs when a gang of enraged youngsters from Jo’s neighbourhood storm the room and start beating up Pari. In a movie like Kadhal, we feel the victim’s anguish. We can feel his powerlessness and embarrassment here. It’s a really emotional situation. Kathir not only offers an incredible physical performance, but he also brings us inside Pari’s soul in close-ups.

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This sense of impotence, of shame, permeates through Pariyerum Perumal. They aren’t the only ones to blame. We witness how we might (choose to) be embarrassed by our own folks when they don’t live up to society’s norms in a heartbreaking section centred on Pari’s father.

 

This is a surprisingly level-headed picture that deals with both the outside world and the inner self. (We may oppress ourselves even as we are oppressed.) Even at college, there is a delicate balance: if a professor with a vermilion mark (but of course) wants Pari to go, there is still a loving instructor who cares for Pari. (As an aside, I hope future films address the issue of class disparity: What if the Dalit lad was from the higher caste, and the upper-caste girl was from the lower caste? What would someone in Marimuthu’s shoes do in such a situation?)

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The story of Pariyerum Perumal is about overcoming weakness and humiliation. It’s about taking a more forceful, even aggressive stance. We first encounter Pari with his mates in a waterhole. He tells his pals to go when he sees several upper-caste adolescents approaching them. He isn’t looking for a fight.

He just wants a way out of his situation, and education is that way out. (This is a post-Pa Ranjith movie phenomenon.) The youngster in films like Kadhal was pleased to be a laborer.)

This “lovely youngster” starts to change into an Angry Young Man as the humiliations grow — via words (English is used as a weapon to humiliate him), and through deeds (he is shoved about incessantly). He even keeps his distance from the girl he loves.

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This is what distinguishes Pariyerum Perumal from other Angry Young (or Old) Man stories, such as Pa Ranjith’s (he’s the producer) Rajinikanth movie or even Madras. External factors (a friend’s death, for example) triggered the latter’s waking. This is a much more introspective picture.

It has a personal sense to it as if you’re reading someone’s journal. (Perhaps the absence of celebrity allows for greater specificity.) However, Ranjith’s impact may still be felt. There’s a distinct feeling of time and place here, as in Madras, and an almost anthropological commitment to a way of life.

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Note the koothu performance’s staging, as well as the song sequences’ quick-cut montage lengths (Santhosh Narayanan’s work is superb) that depict Pari studying, working, conversing, singing, dancing, and simply being.

I was first concerned about what was to come. A card towards the beginning of the video reads, “Caste and religion are enemies of mankind.” No one can deny that this statement is true, yet I was curious whether Pariyerum Perumal would be a finger-wagging message film.

When Pari meets the principal of the law college and tells him he wants to be a doctor, there’s a cringe-worthy scene. Dr. Ambedkar, for example. Again, a commendable goal, but it’s too straightforward (also, it didn’t seem like Pari was speaking as much as the filmmaker). The early scenes have sloppy writing.

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We see three sequences in which Pari is attempting to communicate in English. (However, I adored the instructor who let him cheat on a test.) In the second part, a drunken scene seems out of place. The smouldering rage, on the other hand, ties everything together. Yogi Babu is of assistance. He writes some crackling lines and injects a sense of joy that contrasts with Pari’s sorrow.

The fat gradually disappears. (The second half is very well-focused.) The sceneries grow richer as well. We’re introduced to a “villain,” a kind of hired murderer that targets lower-caste guys.

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I thought the early scenes with this man were unusual since he prefers to capture them in public places (a bus, a pond where others are swimming) rather than alone — but when I thought about it, it may also be indicative of how innocent people are slaughtered right in front of our eyes.

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The “emotional” reasoning takes precedence over the “logical” rationale. Later, when this assassin tries to kill Pari, he abandons him on the railway tracks, completely oblivious to the possibility that Pari (who is only sleeping) would awaken before the train comes. However, emotional logic is at work once again. The moment harkens back to a gruesome (and I mean gruesome) death at the start of the movie.

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The killer’s death is poetic retribution, but it also demonstrates that evil does not necessarily have to be defeated with weapons. Sometimes all it takes for decent guys to rise up and oppose is for them to refuse to be cowed down. And now we’ve arrived to Karuppi, Pari’s dog. (Ippo odane naan unna paakkanum / Mookkil mugam vachu orasanum / un naakil nakki en azhukka kazhuvi poganum / un naakil nakki en azhukka kazhuvi poganum)

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The dog is a mongrel, as in Kaala: “unpedigreed.” But there’s more to the symbolism. She’s blue, and she comes to symbolize the spirit of a people, the Native American counterpart of an animal spirit. These conceits (as well as the strange music video for Naan yaar, in which Pari becomes the oppressed’s voice) may seem emotional on paper, but they are uncompromising and brutal on screen.

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The cinematography (by Sridhar) is also devoid of sentimentality. We get wide pictures and handheld photos, but nothing very exciting. The result is a documentary-like sense of immediacy. There doesn’t seem to have been any color adjustment. The raw existence is reflected in these arid, sunburned surroundings.

That isn’t to imply there aren’t any cinematic moments in the film. The sequence in which Pari throws a stone at a car’s windscreen and speaks to the guy in the driver’s seat through the hole is very powerful. It’s as if a window has been broken open, revealing a fresh perspective.

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Mari Selvaraj creates some fantastic scenes, such as Pari cowering in the women’s restroom as females rush around screaming. And the combat choreography set in a plantain field is stunningly realistic, a far cry from the one-sided one-versus-many clashes we see in movies.

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This impression of a lived-in existence is carried over into the songs as well. The one that plays after Pari and Jo have gotten to know one other displays their budding romance while also depicting the on-campus violence that they are surrounded by. Jo is a weak link in the chain. I assume she’s supposed to be a guileless… devathai (angel), as Pari puts it (or maybe it’s a Mari Selvaraj thing, because the film is full of angel stuff) — but she comes off as much too adorable. (I couldn’t tell whether it was because of the character or because of Anandhi’s performance.)

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Her sequences (the one in which she breaks her bangles and the one in which she confesses her love for Pari) belong in a different film. She is, nonetheless, unmistakably a voice of reason. As much as Pariyerum Perumal advocates for the downtrodden and against the oppressor, it does not do it in a straightforward manner.

We end up with textured polar opposites. Anandhi has many privileges that Pari does not, but she is also our window into Pari’s reality. Her choice to pursue a career in law was made on the spur of the moment. His choice has the type of history that belongs in a fantasy novel.

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Pariyerum Perumal pushes the downtrodden to struggle in scene after scene. “Naamalum oru naal adippom,” an elderly guy says after the police had called Pari’s pals as suspects (they’re generally the first ones summoned).

“Room-la thooku pottu saavartha vida sandai pottu saavattum,” the headmaster, who has experienced his share of persecution, says when Pari’s teacher fears that Pari may get aggressive.

Whistles may be heard. It’s a punch line that also comes as a gut punch. There’s also some visual commentary running throughout the film, like as newspaper headlines announcing the death of a Dalit (the first such headline is of the former President KR Narayanan).

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The death of an upper-caste guy is finally reported in the news. But there’s no reason to rejoice. The incredible last moment serves as a sad reminder that Pari is still unable to express herself as freely as Jo.

A tense truce is shown in the scenario. It indicates that the first step is to communicate with each other and understand each other, and it concludes with a shot that seems like a still-life picture that we may contemplate for hours. It’s not truly a conclusion. It seems more like the start of something.


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