Nandhan, directed by R. Saravanan, is a daring film that explores the harsh realities of caste politics in rural India. Set in Vanangankudi, a village in Pudukottai district, the film follows the struggle for power in a local Panchayat election, where the position of President has traditionally been held by the dominant caste, specifically the family of Gopulingam (played by Balaji Sakthivel).
The story begins with the announcement of the Panchayat election. Gopulingam, the head of the dominant caste, is determined to maintain his family’s control over the Panchayat, refusing to let anyone from marginalized communities take over the seat.
However, the election throws a twist when Vanangankudi is declared a ‘reserved’ constituency, intended for candidates from oppressed communities. This enrages Gopulingam, who decides to manipulate the situation by selecting Ambethkumar (played by Sasikumar), a Dalit man who has always followed his orders, to stand as his candidate.
Table of Contents
Social Struggles and Realities
The film’s central theme focuses on how power, even when meant for the oppressed, often remains in the hands of the dominant caste. Through Nandhan, director R. Saravanan shines a light on how ‘reserved’ constituencies, meant to empower the marginalized, are often exploited by those in power. The film ends with real-life testimonials from those affected, underscoring the reality of systemic caste-based oppression.
The screenplay takes viewers through the various dynamics of rural politics: the election process, the announcement of reserved seats, the manipulation of Dalit candidates, their innocence, faithfulness, and the continuous suppression they endure. Nandhan effectively captures the systemic abuse, oppression, and humiliation that these communities face.
Satirical Elements and Real-Life References
To break the monotony, Nandhan cleverly incorporates satire by poking fun at contemporary political figures and events. The film references real-world incidents, such as a Panchayat President being unable to hoist the national flag, emphasizing the incomplete freedom experienced by oppressed communities even when they gain power. The narrative also touches on important topics like the SC/ST Act, land rights, the growing influence of social media, and the significance of education.
While the first half of the film remains engaging, the second half tends to falter slightly, relying on emotionally manipulative scenes that detract from the film’s intended impact. One such example is Ambethkumar’s attack, which feels underwhelming due to a lack of depth in understanding his character’s mindset.
Character Portrayals and Performances
Sasikumar’s portrayal of Ambethkumar reflects his signature style as a rural man, but this time with a unique body language and demeanor. His performance as a naive and submissive man, always chewing betel leaves, brings authenticity to the role. However, the sudden transformation of his character later in the film feels rushed and somewhat unconvincing, making it difficult for the audience to fully empathize with him.
Balaji Sakthivel excels as the villain, delivering a powerful performance that perfectly captures the menace of his character. Shruti Periyasamy, playing Sasikumar’s wife, delivers a solid supporting role, while Samuthirakani’s cameo adds weight to the film, especially with his impactful dialogues on reservation and caste dynamics.
The casting of non-professional actors to play the villagers adds a sense of realism to the film, drawing viewers deeper into the narrative.
Music and Technical Aspects
Gibran’s music in Nandhan is serviceable but not particularly memorable, with none of the songs standing out. However, the background score works well in certain scenes, though at times it becomes overly loud and distracting. The cinematography by R.V. Saravanan and editing by Nelson Anthony require more precision to truly elevate the storytelling.
Final Verdict
Nandhan bravely tackles a critical yet often overlooked issue in Indian society—the manipulation of political power by the dominant caste over marginalized communities. While the film’s message is commendable and bold, it doesn’t always deliver the emotional or cinematic impact one would expect. The film succeeds in highlighting the struggles of the oppressed but falls short of fully realizing its potential as a powerful cinematic experience.
Nevertheless, Nandhan is a must-watch for its audacious attempt to bring a rarely discussed topic to mainstream cinema, even if it raises more questions than it answers.
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