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By:
JBR
Liberty Creations Ltd. is producing the film 'Periyar.' Gnanarajasekaran is directing the film. He has already directed films like 'Mohamul' and 'Bharati.' Special attention is being paid to the film 'Periyar' in Tamil society owing to the manner in which Bharati the poet and his social movement were recreated on the silver screen and how it was made to reach the common public. The expectations about the film is further enhanced by the fact that Satyaraj who is a follower of Periyar is slated to do the role of Periyar and that the DMK government has granted a sum of Rs.95 lakhs for the film.
In the context of Tamil films depicting gangsterism and goondaism, Gnanarajasekaran opines that it is a healthy trend in films to recreate true life stories like that of Bharati and Periyar. He also concedes that after the screening of the film 'Bharati' the appeals made to him to produce a film on 'Periyar' was the starting point of his effort.
Once the decision to produce 'Periyar' was made, Gnanarajasekaran started collecting data relating to and photographs of Periyar. That took him almost one year. After that he started writing the script that took him three years.
In this context, when Satyaraj spoke at the Periyar ground he announced that if a film was produced on Periyar, he would do it for free. 'Moreover, Satyaraj is an ardent follower of Periyar and his stature is apt for the role of Periyar and as such I decided to do the film with Satyaraj.
The film 'Periyar' begins in the year 1900. It traces his life from a young Periyar till his death. Since the story traverses along several periods, Satyaraj appears in ten different get-ups to reflect them.
The film features Periyar's conversations with Gandhi, Rajaji, Anna, Karunanidhi and Ambedkar.
Important events in Periyar's life are depicted, like tonsuring his head in Kasi, as Councilor in Erode Municipality, demise of his wife Nagammai, visiting the city of Athens and declaring himself to be a social reformist standing in front of the statue of Socrates, his participation in the temple entry agitation in Vaikkom, boycotting arrack shops and so on.
The locale and the period of the film was that of no paved roads and no electricity. So, the shooting of the film takes place camouflaging the transmission lines and filling dirt on the roads. The film has cinematography by Thankar Bachan, music by Vidyasagar, lyrics by Vairamuthu and art by G.K.
There is no doubt that the film is taking shape with utmost care and attention to details. At the same time, the question remains as to how the crew is going to fulfill the expectations and meet the challenges.
The shooting for the film will take place at Karaikudi, Kothamangalam, Kanadukathan, Vaikkom and Kasi in India and abroad at Athens, Germany, London, Moscow, Malaysia and Thailand.
In India they can camouflage the transmission lines and by covering paved road with dirt, but how would they manage to do so in other countries? How would they hide the massive buildings and create that period there?
Sayaji Shinde who acted as Bharati was the reason for the film's noticeability in the Tamil community. By his versatile body language, Shinde was capable of bringing out the innate affection and anger in Bharati that filled the Tamil imagination. Tamil audience did not know Shinde. So they could only see Bharati in full in Sayaji Shinde's facial expressions, body language and mannerisms.
On the contrary, the Tamil audience has known Satyaraj for 25 years now. They are quite familiar with Satyaraj's expressions, his intonations, his mannerism and body language. In the pictures depicting Periyar released recently what emerges is Satyaraj. This may pose a problem with the audience trying to identify with the character. How are Gnanarajasekaran and Satyaraj going overcome the challenge? Will Satyaraj be able to subordinate himself and bring out the Periyar as Periyar would have been?
Periyar did not oppose the dominance of other castes as much as he opposed the Brahmin hegemony. He had never criticized the non-Brahmin caste people. Therefore, opinions are heard that Periyar should be re-evaluated. Ravikumar, a writer and a political analyst and Viduthalai Siruthaigal Mannarkudi MLA has been insisting on this for some time. Ravikumar also shows evidence of writings of Periyar on his prejudice against Christian, Muslim and minority communities.
Will the critique on Periyar's opinions and views find a place in Gnanarajasekaran's film?
It is part of history that Bharati used to indulge in minor narcotics. In the film 'Bharati' there is a monologue of Bharati getting frustrated with 'this new habit that makes his head spin. Just for that, Gnanarajasekaran was the recipient of criticism from irate audience. At the same time he was also congratulated by many for his deft handling of the situation and protecting the 'clean' image of Bharati. These are the people who did not appreciate the fact that the historical truth of Bharati's habit would in no way diminish the value of his poetry. Going by that, it would be certain that there wouldn't be any instance that calls for a re-evaluation of Periyar in the film.
Periyar had the distinction of opposing views only through his ideas. He not only allowed opposing point of views to be voiced but also advised his followers not to be hurt, as they themselves have hurt other's feelings once they have come to public life.
It would be foolish to take anything just because it is my view. Rationalize everything before accepting any views. What may be rational today may not be so tomorrow. So, think everything rationally before coming to conclusions. Periyar was such a thinker who had a large canvas and allowed his views to be criticized. Are the followers of his movement as large hearted as he was?
When Periyar visited Germany, he not only became a member of the nudist movement, but also took pictures of his nude self. He allowed them to be published in newspapers. But how about the DK sympathizers?
Recently when some Jain Digambar monks visited Pondicherry (Digambars are a sect in Jainism who follow non-killing, non-cruelty to any creature and have given up all worldly wants and hence they don't wear any clothes), DK sympathizers were in the forefront to drive them away from Pondicherry on the plea that Tamil culture would be spoilt. This contradiction would block depicting criticism on Periyar and some historical facts from Periyar's life in the film. How would Gnanarajasekaran overcome such blocks?
Periyar is a continuum of Indian philosophical thought. The Chavakas had defied the 19th century ideas during Vedic period itself. Chavakas had opposed the Vedic period Aryan orthodox ideas of God, soul, rebirth, heaven and so on and established that all matter is inert. The generation that came after Chavakas like the followers of Sankya philosophy, non-believers like Buddhists, Jains and Tamil Siddhas had more or less followed the Chavaka philosophy.
But in course of time owing to thinkers like Adi Sankara, the theist movement has internalized these philosophies, which defied the ideas of God, rebirth, bliss, etc.. Moreover Aryans like Nagarjuna and Thinganathar joined Buddhist movement and turned them into Hinayana, and opposed the scientific ideas of nature and the atomic structure of the physical bodies. This gave rise to Mahayana that incorporated God and rebirth ideas into Buddhism and introduced orthodoxy that divided Buddhism into two.
One can see the non-orthodox ideas of Jainism and Buddhism in Periyar's sayings. His indifference to brushing the teeth and bathing and his membership in the nudist movement in Germany all indicate an inclination towards the Digambar Jainism.
Periyar participated and delivered the presidential address at the Buddha festival sponsored by the Mahabodhi Sangam at Egmore on 15.5.1957. In his time, Budhha festivals took place in Erode. Accompanied by Anna he visited the Buddhist heritage site at Saranath. At the same time he cautioned his followers that his inclination towards Buddha may affect the movement and advised them to be on guard.
As orthodoxy internalized such non-orthodox philosophies like Sankya, Jainism and Buddhism, Periyar not only opposed the idea of Godhood, but also built DK as a social organization that agitated against subordination of women, casteism, while opposing orthodoxy.
Though a section ceded from the DK claiming 'One race and one God' and 'Godhood in the smile of the poor,' Periyar's movement and his ideas are still untouched by the orthodoxy. That way Periyar's contribution is very vital to Indian philosophical tradition.
Any film on Periyar would be complete only if such essence is reflected.
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-30.08.2006
