2024-08-15 12:08:00
The film ‘Ragu Thatha’ portrays how a woman, who opposes oppression and domination, confronts the challenges in her life. This movie has been directed by Suman Kumar, who has worked as a writer on series such as ‘The Family Man’ and ‘Farzi’.
Kayalvizhi Pandiyan (Keerthi Suresh), hailing from Valluvarpettai, becomes active in the struggle against Hindi imposition and ends up closing down the local Sabai in her hometown. On another front, she raises her voice against female subjugation through the short stories she writes. Kayalvizhi, who has no interest in marriage, agrees to marry Tamil Selvan (Ravindra Vijay) to fulfill her grandfather’s last wish, who is suffering from cancer. However, upon discovering that Tamil Selvan has another face, Kayalvizhi fights to stop the marriage. The story revolves around whether her struggle is successful or not.
The debut director Suman Kumar attempts to narrate the humor surrounding Hindi imposition, the protests against it, and the oppression of women against the backdrop of the 1960s. The film starts with a lack of interest, and dialogues that seem to drag it along, failing to introduce the characters and their living environments effectively. The film lingers in its central theme until the intermission, feeling as if Keerthi Suresh is stubbornly resisting marriage. This lack of engagement in the screenplay becomes tiresome. The audience is left trying to discern whether the scenes are serious or comedic. The combination of both fails to create sufficient impact.
It becomes clear after the intermission that the director begins to unravel the story. The film touches upon numerous themes such as Jeyakanthan, Periyar, the opposition to Hindi domination, scholar Anna, reading books, and female subjugation, but fails to present them cohesively. Language imposition and oppression against women continue to resonate in contemporary times, allowing for easy connection.
The last hour of the overall film captivates with excellent scenes. Dialogues such as “Suddenly it’s imposition. If it’s been there for ages, it’s culture” are cleverly crafted. The film also critiques fake feminists and differentiates between ‘Hindi imposition’ and ‘Hindi opposition’. The chaotic events occurring during the climax somewhat overshadow earlier flaws. The film shifts focus from the plot, primarily relying on humor, thus losing the essence of its messages.
Keerthi Suresh delivers a subtle performance in the role of a character rebelling against oppression and domination. In the final scenes, her dialogues and self-respect moments receive applause. Ravindra Vijay, portraying a ‘fake feminist’ with dual personas and qualities, scores in his role. The performance of MS Bhaskar, balancing between seriousness and comedy, garners appreciation. Others like Dev Darshini and Ismath Banu also deliver necessary performances.
The artistic creation enhances the film’s credibility. Shaan Roland’s background score does not leave a substantial impact and travels alone. Yamini Yagnamurthy breathes life into scenes with her meticulous cinematography. In scenes that diverge from the story, T.S. Suresh might have produced some uneven cuts. Overall, the narrative of Ragu Thatha only gains focus and score in the final hour while wavering between treating serious themes or humorously representing them.
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<h2>Emerging Trends in Gender Issues and Language Politics in Media</h2>
<p>As society continues to grapple with themes of gender inequality and linguistic imposition, media narratives are expected to evolve, mirroring these ongoing struggles. The film 'Ragu Thatha' highlights these critical issues, showcasing how characters navigate oppressive systems, particularly focusing on women's resilience in the face of societal pressures. This reflection in cinema paves the way for several future trends in storytelling.</p>
<p>First, there is likely to be an increase in stories that emphasize the intersectionality of gender, culture, and language. As demonstrated in 'Ragu Thatha', the backdrop of Hindi imposition and its impact on regional identities may see more representation in films and series. Audiences are becoming more aware and critical of these dynamics, leading creators to embrace narratives that authentically portray the struggles and triumphs of marginalized communities.</p>
<p>Secondly, a shift towards hybrid genres integrating both humor and serious commentary could emerge as a predominant trend. The challenge of balancing these elements, as seen in the film’s execution, highlights a need for creators to refine their storytelling techniques. Audiences are receptive to narratives that can evoke laughter while also prompting critical thought, making the duality of seriousness and satire a fertile ground for future projects.</p>
<p>Moreover, the portrayal of strong female characters, who fight against patriarchal norms while also confronting systemic issues, is expected to gain momentum. Films and series that break away from traditional gender portrayals could resonate deeply with viewers, instigating conversations about female agency and empowerment within various cultural contexts.</p>
<p>Lastly, the technological advancements in media production, such as improved visual storytelling techniques and sound design, can enhance the emotional weight of these narratives. As seen with the contributions of skilled cinematographers and sound engineers in 'Ragu Thatha', the ability to create immersive experiences can draw audiences into these complex themes, making the stories not just viewed but felt.</p>
<p>With the continued exploration of these themes in media, society may find itself at a pivotal moment where narratives can play a crucial role in shaping perceptions and inciting change. The future of storytelling in film and television promises to be rich with layers of complexity, reflecting a society that is increasingly cognizant of its historical and social challenges.</p>
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