Karnan Movie Near Me
Karnan Movie Near Me: Karnan Movie: Mari Selvaraj’s Karnan opens with the shot of a girl suffering from seizures lying helpless in the middle of the road. Vehicles continue to circulate on both sides of the road, but none stop. Theni Eswar’s camera rises above the ground and climbs higher and higher, giving us a God’s view of this tragic scene. There is no divine intervention; in fact, the girl dies and becomes a Goddess: Kaattu Pechi!
The film then cuts to the now iconic song Kanda Vara Sollunga by Santhosh Narayanan. We see an entire village praying for the return of Karnan (Dhanush). And Mari Selvaraj immediately establishes the mythical status of her protagonist. We don’t see her face; instead, we see his feet (spattered with blood and trampled by the boots of the police officers), his hands (handcuffed), and his head (covered by a black cloth). We see who Karnan is through the tattoos that people wear and the painting that a painter does with fire.
The plot revolves around Podiyankulam, a poor village of oppressed communities who are denied a bus stop. Their powerful men (obviously from the ruling caste) from their neighbouring village, Melur, use this as a means of keeping them dependent on them. Things come to a head when Karnan, an angry young man from Podiyankulam, hoping to be draft into the army, decides to take matters into his own hands. A bus is vandalized, prompting the police, led by selfish officer Kannapiran (Natty), to retaliate. The film then flashes back a few years to 1997 to recount how Karnan became the hero of his people, how oppression can be insidious, and how the bureaucracy sides with the oppressor and even take part in pressure.
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Karnan’ Movie Review
The deities seem to have given up at Podiyamkulam near Melur, Madurai, where Dalits have been “allowed” a piece of land in a village; It is where Mari Selvaraj’s Karnan takes place, and its inhabitants are the people who have most resisted systematic oppression. Rather than give up, it seems that the deities are tired. Another thing is that the people of Podiyamkulam never die, at least in their unified spirit against oppression. They become a minor deities in the face of death.
Karnan begins with the death of a girl who succumbs to epilepsy on the main road, with buses and cars on both sides. No one stops, and she ends up looking like a run over dog on the road from a higher angle. When the camera focuses on her, Mari Selvaraj is reluctant to show her face; she gets the facade of a deity instead of her. Even the gods that the people of Podiyamkulam pray to are faceless or somewhat headless.
I saw on social media that most of the viewers were impress with Mari Selvaraj’s film. Whose debut Pariyerum Perumal (2018) was outstanding. Starring Dhanush and covering a major social issue of the powerful oppressing the residents of a marginalized (lower caste) village in 1990s Tamil Nadu. Karnan (2021) was the anticipated film of the year. The pain portrayed by Karnan is real, but for a Mari Selvaraj film, I expected more, and it wasn’t enjoyable. The movie is available on Amazon Prime Video and gets a mangoidiots rating of ‘Raw’.
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