Reel imitates the real. I wonder how often that phrase passes through our heads over popcorn buckets and sticky soda floats. Especially when caricatures of politicians and echoes of their misdeeds splatter across big screens in theatres near you. Cinema is the most immersive style of storytelling to date. It is all-consuming and in those minutes spent inside a dimly lit hall, we are lost in a different world. This immersion is probably why films have the ability to change and shape thoughts and ideas. It has the bizarre quality of holding a lamp to the most grisly underworld dealings and presenting them, in their bloody glory on a stage so loud and all-encompassing it’s impossible to ignore. Larger than life and loud are the most common terms we would associate with dirty political dramas and the silver screen seldom misses the mark in portraying those very characteristics through their dark and gritty illustrations of the same, that more often than not, leave an indelible mark on our consciousness. That being said, the Tamil film industry presents a slightly different narrative than most.
The art of storytelling so often is a study of characters oscillating on a spectrum between the extremes of angels and devils and the various shades in between. Our eyes never seem to tire of this sight. Maybe this is a reflection of our own world, caught in a flux between the tides of good and evil.
This very idea, of cinema being a mirror to the real world is bolstered by the deep intrinsicthe relationship that Dravidian politics has with the hyper and extravagant culture of Tamil cinema or “Kollywood” as it is colloquially known. Entering the political arena after a long successful career as an actor has become such a natural process that it rarely strikes anyone as bizarre. Kamal Haasan and Rajnikath’s stints in politics were predicted by most. An inevitable result of this association seems to be the various political dramas churned out by the Tamil film industry. An inevitable result of this association seems to be the various political dramas churned out by the Tamil film industry.
History is a witness to the fact that movies became a tool for propaganda to further political agendas all over the world. The scenario was not very different in Tamil Nadu where attempts, though initially unsuccessful ones, were made to project pro-Dravidian sentiments on the silver screen. Rampant censorship and disdain over the Tamil identity during the time, especially by mainstream political parties like the congress though, were in vain. Movies that epitomised Dravidian talking points like Velaikaari and Or Iravu were commercial successes and set the tone for many more to come. The anti-Brahmin and pro-working class sentiments made very clear the angles and devils not just on screen but in real life as well.
The impact of cinematic stars and their sway over the local populace could be seen starkly reflected during the election results. A galaxy of them easily won political power and started a trend that does not seem to be dying down in the state. The electoral sphere is heavily dominated by players who cleverly pushed agendas first on-screen and then by riding the winds of their popularity, solidified them through legislative bills. In sharp contrast to earlier DMK movies, which revolved around propaganda, M.G.R. symbolised the party’s ideology by playing a glamorous representative of the party in his movies. He cunningly played the hero of the common people, fighting evil and uplifting the poor and attempted to project the same image in his political career as well. This translation of reel to real was clearly reflected in the tremendous electoral success he enjoyed.
Glorification though can only be right till a point. The usage of films by Tamil politicians to paint themselves in a righteous light has led to a larger than life, glamorous portrayal that has given them a godlike status in the eyes of common people. The divine aura politicians like M. G. Ramachandran, J. Jayalalithaa and Vijayakanth enjoy goes above and beyond the levels of normal fan worship. Temples have been constructed to honour M.G.R. and Jayalalithaa’s death triggered suicides which instead of being an outlandish act, was actually expected by many political commentators in the days prior to her passing. Political parties seem to encourage such spectacles of devotion behind a facade of shock. Reports of hefty compensations being provided to such “loyalists” are clearly indicative of this. This degree of idolisation and celebration of larger than life personalities seem eerily reminiscent of the first steps in cultism.
The lines between real and reel, actor and politician in the region, seem to blur more and more as days pass by. It makes one wonder about the times on-screen when villains masquerading as heroes. Another storytelling ruse as old as time and unsurprisingly, quite enthralling. Would it not be quite ironic if a day comes, if it has not already when those very heroes fighting evil on the screen go to political office and wear the same hats as the criminals they left bloodied and dead? That too, to the echoes of tumultuous applause. Cinema goes beyond simply being a mirror to the real world. It influences, impacts and sometimes it seems, even changes the course of history. Whether good or bad, it really makes one wonder about the true power cinema, especially regional cinema, possess.
A History Major from Jesus and Mary College, forever fascinated by culture, history and politics. A wannabe rebel with way too many causes to yell about.
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