Kannammaa Writes

This post isn’t about the story of Gatta Kushti but about the patriarchal and sexist nuances in the movie. I’ve posted positively about Veera in a separate post. A husband will mistreat and physically abuse his wife and she shouldn’t hit him back. So, only marry physically weaker women.  This perception says how society assumes that domestic abuse against women will and must happen. But men should never put themselves at risk of being physically abused by their wives by marrying a female wrestler or a woman who knows karate. Society expects abuse after marriage more than love and affection. The perception that domestic violence against anyone is wrong is missing. Women can’t protect themselves and others. If they do, they’re “rugged” girls who aren’t raised properly. This is the core of the mindset of those surrounding the protagonist. Karunas’ character specifically scolds Keerthi for protecting her husband by beating up goons, hence humiliating him, indulging in fights, and blames he

First of all, this post isn’t denying the unsavory cinematic liberties and stereotypes that Mani Ratnam has spewed in his films. In fact, his Kaatru Veliyidai and Chekka Chivantha Vaanam are major red flags. I haven’t watched Ponniyin Selvan 1. But still, I want to talk about Thalapathy and the movie’s feminist elements that are way ahead of their time. A man pacifies his wife’s dilemma about her rape and the son she bore out of wedlock. Not so long ago, Astro Ulagam conducted a poll if Malaysian Indian men would marry a rape victim/a girl with sexual experience. Only one said he would. Indian men’s biggest fear remains if they get “goods that were used by someone else” as their wives. Nayanthara is still abused for her past. Wikki is trolled for accepting a woman who is the leftover of other men. Krishnamoorthy character in Thalapathy broke this mold in 1991. Not only does he marry her, but he also calms Kalyani down every time she feels guilty about her rape and “illegitimate” child.