Kannammaa Writes

  One of the reasons I liked Mani Ratnam's filmmaking is how he portrays women in his films, even in gangster films. In the former decade, however, Mani steadily succumbed to gangster movies where he normalizes gangsters having mistresses. I know that men will come and say that having affairs are a part of life for gangsters - Mani Ratnam is just showing "realism." But I grew up watching Nayagan and Thalapathy. In fact, I used Thalapathy for plenty of feministic referrals. Mani Ratnam proved previously that gangsters needn't use women as side chicks and have wives who tolerate their cheating to prove their "Thug Life" status. And quite frankly, the honoring of women in Mani's Nayagan and Thalapathy is what elevated the films to a whole new level. I do have a bone with the "item" songs in Nayagan and Thalapathy. Nonetheless, the movies hold women in a league where they needn't be a gangster's notoriety enhancers. They exist, as they are,...

  7 Feminist Elements in Thalapathy ✋ 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. But still, I want to talk about Thalapathy and the movie’s feminist elements that are way ahead of their time. 1. A man pacifies his wife’s dilemma about her rape and the son she bore out of wedlock. ❤ Indian men’s biggest fear remains:  "What if I get “goods that were used by someone else” as my wife?"  The "used goods" include rape victims. Krishnamoorthy (Jai Shankar) in Thalapathy broke this mold in 1991.  Not only does he marry Kalyani (Srividya), a rape victim... but he also calms her down every time she feels guilty about her rape and “illegitimate” child. 2. Giving the birth of a girl child a positive outlook - how daughters are more empathetic and caring.💃 In the Malaysian Indian community, daughters are coveted an...

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....