At the intermission of Pariyerum Perumal, the eponymous protagonist lies bruised and battered by the relatives of his female upper caste classmate. He’s covered in their urine, locked inside a room. If he is ‘let out’ he might get killed, he’s told. Pariyan, shivering in trauma, drags himself to the bolted door and knocks on it…
In a single stroke, Mari Selvaraj, paints a simple picture of the fundamental problem of existence of all oppressed people. If you want to stay alive, remain locked within unbreakable boundaries. Cower in fear. Lie humiliated.
It is this tango of ‘idea’ with ‘story’ through the nonchalant usage of metaphor, that characterizes Pariyerum Perumal from start to finish. Selvaraj writes his metaphors organically into the story. Characters are symbols but they are also real people with justified emotions. Events are symbolic but they work as plot points too. We are able to watch the film, both as the story of one man, as well as the story of all oppressed people, with no loss either to the core idea, and with no inconsistency in the portrayal. It is the reason why Pariyerum Perumal is an important film for the growing mini-narrative of social equality within Thamizh cinema. In contrast, the white vs black contrast in Kaala, was so consciously stretched across the film that it was apparent that the film took place in an imaginary universe, though it dealt with very real social issues. It remained a ‘concept film’ in which the idea trampled over the characters. A film that rang out more like a statement than like a story.
Let’s look at some of the characters in Pariyerum Perumal‘s universe to understand this taut balance between idea and story in Selvaraj’s writing.
The most obvious of them is Karuppi, Pariyan’s beloved dog. The way he lifts and cuddles her, his affection is breathtakingly real. And yet, Karuppi is also the most powerful symbol in the film. She stands for all Dalit lives lost to caste oppression. In the sequence right after the intermission where Jo, the girlfriend confronts Pariyan – one of the most stunning segues from real to surreal to imaginary – the dead Karuppi trots into Pariyan’s classroom. The desks have vanished. The blackboard is now covered in cyphers. Everything that reminds him of his crushing inability to break free and live his life, comes rushing to him.
Marimuthu who plays the father of Pariyan’s upper caste girlfriend is conflicted about caste. Right till the final scene, his character is extraordinarily uneasy about the likely union between his daughter and Pariyan. He has been taught to be viciously dogmatic but nor has he completely lost his basic humanity. He struggles between his two sides. And his most striking physical feature is that he wears a white stubble and a black moustache. It’s the colour symbolism of Kaala but played this time with a featherlight touch. And it worms its way, almost unknowingly, into our reading of his character.
A more layered example is the character of the upper caste assassin. The character has his religious justification for what he does. It’s in fact his only justification. He doesn’t even want money. His modus operandi is to acquaint himself to the victim and then strike. He appears like any regular old villager, his victims refer to him as thatha. He fails to kill Pariyan and ‘atones’ for it by committing suicide.
One could also view the character as a symbol for all religious and mythical sanction for oppression. Like the Manu Sastra. Like all imagined orders of caste and racial hierarchy that the oppressed are acquainted with, and accept as everyday reality.
Selvaraj delivers poetic justice by killing the symbol of such mythical sanction on the same train tracks that have killed so many Dalits. It is a political stance that is so thickly veiled that the suicide finally appears mostly as a justified end to the character. The idea doesn’t overshadow the character.
And finally, Pariyan himself. Mari Selvaraj’s Pariyan is a moderate by nature. He does not go after the killers of Karuppi. He doesn’t get into a single fight. He consciously avoids campus violence. He doesn’t even take institutional support from student bodies when he is targeted. And in the final scene, he begins dialogue with the upper castes. There is no trampling of the villain like in Kaala. It’s a tone, a stance that hasn’t gone down well with social commentators, who find his inaction problematic and tame. However, Mari Selvaraj is yet again only staying true to both story and idea.
His Pariyan doesn’t want to stay segregated. His closest friends are both from the upper castes. He eyes the gang of his Dalit college mates with doubt and never integrates with them. He doesn’t believe in making only Dalit friends. To that extent, he is casteless. He provides a near fatal ride on his cycle to the assassin despite having directly faced untouchability from him earlier. The oppression he faces from the first scene of the film till the climax, doesn’t stop him from viewing ‘the other’ with compassion. He doesn’t see the oppression as a reason to organise and protest. He sees it with more forgiving eyes because that is who he is. And hence, it follows that Pariyan’s struggle is personal. His character cries, seethes in anger, carries a terrible secret, survives, and finally forgives, all by himself.
However, this nuanced characterisation is also a symbol for what Selvaraj thinks is the right political stance. Selvaraj believes in having to shelve the rightful indignation like Pariyan does, bury the hurt, and move forward. He believes in having a conversation over tea (black and milk), with ‘the other’.
From an aesthetic point of view, the writing of Pariyerum Perumal hits a subtler note. And hence manages to reach a deeper place. Mari Selvaraj’s success in marrying the story so inextricably with his political world view, through unlabelled metaphors and symbols, is the reason why Pariyerum Perumal is both lofty and crafty. It is both important and good cinema.
(by naadodee)
Krishikari
October 16, 2018
” It is a political stance that is so thickly veiled that the suicide finally appears mostly as a justified end to the character. The idea doesn’t overshadow the character.”
Wow. Great that you wrote this piece.
LikeLike
Anil Kumar
October 16, 2018
Good review Naadodee. Liked the way you analyzed through characters. Mari Selvaraj’s use of songs for intense storytelling deserves a review by itself. Hoping to read that too sometime soon. Adi Karuppi in first half & Naan Yaar in second half have setup the intensity (Mari Selvraj used them more like power-play in storytelling.) Film ending tenderly with Vaa Rail vida polaama!
LikeLiked by 1 person
Gautham
October 17, 2018
Nice write in. I felt the Thatha character was analogous to General Smithers in Hateful 8.
I read the climax as two people recognizing that their existences can be reconciled – from an earlier standpoint where it was irreconcilable – with that recognition bringing them to the negotiation table.
LikeLike
Anu Warrier
October 17, 2018
I’m glad you picked up the gauntlet, Nadodee. (Like the moniker, as well.) I haven’t watched the film and I doubt I will get the chance to for a long time, but I enjoyed reading your analysis.
Thank you.
Sir K(to the power of 2), thou hast been answered, and well. 🙂
LikeLike
naadodee
October 17, 2018
Thanks to BR for posting this, and for the kind comments here.
Honestly, as a reader, I wish someone with more patience for coherent analysis had written the piece. But thought it was more important for this strain of thought to be expressed and for the film to receive more critical analysis.
Would love it if someone wrote about Merku Thodarchi Malai as well.
LikeLike
Varsha
October 17, 2018
Great analysis, naadodee! I especially liked your understanding of Marimuthu’s character. And karuppi! In our family circle, there is a belief that a dog senses an impending danger to its masters and will even give its life to save them. I saw shades of this belief in the Karuppi character.
LikeLike
Deepak
October 26, 2018
Love your analysis. Though I loved the film to the hilt , I had problems with the characterization of hero. For a film rooted in reality the hero character was too good to be true. The way he dint reveal the truth to jo just to protect the image of her father who has been nothing but brutal to him. Even in climax he acts magnanimously to Jo’s father knowing fully well he sent assassins to kill him…
He is too good to be true.
LikeLike
Shyam
October 28, 2018
Liked the analysis. However on a related note I have a question which I do not find an answer for anywhere. Why the name for the character and the film? The hero says it is the name of a God, but surely there must be more to it? Do ‘horse’ (pari) and perumal symbolise anything? I do not know, but ‘pariyan’ sounded very close to ‘pariah’/parayan, which are common abuse terms, ‘karuppan/karuppi’ being another. It is as if the characters are forced to live with an abuse as their monickers.
LikeLike
Varsha
October 28, 2018
Shyam: Here are the director’s own words on the name of the film.
The title Pariyerum Perumal comes from the name of the god who is worshiped by people of all castes in the southern districts of Tamil Nadu, says Mari.
“We consider Pariyerum Perumal to be a source of motivation. There are many in my family who are named Pariyerum Perumal, as in my village. I’ve always felt it’s a forceful name. So I had decided much earlier that if I ever make a film, the hero would be called Pariyerum Perumal – and then I decided to keep it as the title as well since the story of the film is a biography,” he shares.
Link: https://www.thenewsminute.com/article/when-new-generation-creates-art-there-will-be-tremors-director-mari-selvaraj-82968
LikeLiked by 1 person
V
November 14, 2018
Shyam/Varsha: The Director’s explanation notwithstanding, it is what Shyam mentioned that gives the heft to the title. That a so called outcaste is also close to God. That “Paraiah” is not a slur, but one of the many routes to God (Perumal) within a religion rife with castes, school of thoughts and paths. Atleast that is what I felt, as the name sounds too deep to simply reflect a popular naming practice.
LikeLike