CHENNAI: “In a land where cows are revered as gods, our community continues to struggle for something as fundamental as being treated as human beings.” This powerful statement from Singgaramm sets the tone for a film that explores the struggles, discrimination and fight for identity of the marginalised Narikuravar community.

Set in the 1990s and inspired by real-life incidents, the film uses an unexpected lottery win to tell a larger story about dignity, social acceptance and the right to live as equals.

The film begins by tracing the history of the Narikuravar community, whose ancestors are said to have served as warriors during the Maratha dynasty before facing enslavement following its downfall. Their eventual migration to Tamil Nadu and nomadic way of life form the backdrop to the story. Despite generations having passed, the community continues to struggle for recognition and basic rights.

The narrative follows a group of Narikuravar people who arrive in Pollachi and settle on its outskirts with the permission of an influential local figure. Meanwhile, the region is caught in a political rivalry between a sitting MLA and a former MLA, both belonging to the dominant caste.

Things take an unexpected turn when MS Bhaskar, who plays the head of the clan, wins a lottery. The prize money eventually reaches his son Singgaramm (Yogi Babu), setting in motion a series of events that change the fortunes of the community. His journey from struggling to establish his citizenship to eventually contesting and winning an Assembly election forms the crux of the film.

The first half takes some time to establish its characters and setting. Ironically, a film that speaks about the dignity and identity of a marginalised community occasionally falls back on outdated humour and stereotypes. The song ‘Samiyoo’ and certain comedy sequences involving the community feel unnecessary and, at times, uncomfortable. The narrative finds its footing only when it begins addressing their everyday hardships, including their struggle to find shelter during heavy rain and the mistreatment of women.

These moments lend the film an emotional depth that the initial portions lack. The supporting cast, featuring Sendrayan, Maria Vincent, Chamms, Deepa Shankar, Bhadava Gopi, Ilavarasu, Manobala and Marimuthu, fits well into the narrative. Vela Ramamoorthy, in particular, makes a strong impression. Yogi Babu is also seen in a refreshing departure from his usual comic roles, bringing emotional depth and sincerity to his character.

The second half is where Singgaramm truly gathers momentum. Despite winning the lottery, Singgaramm cannot immediately claim his prize because he does not have a bank account, which he cannot open without a permanent address. This seemingly simple predicament becomes a powerful representation of the systemic barriers faced by the community. The film then follows his efforts to secure necessities, improve the lives of his people and give them the recognition they have long been denied.

The political rivalry running parallel to this journey eventually culminates in an election battle, with Singgaramm taking on two established political figures and emerging victorious.

Director KV Kathirvelu handles the emotional stretches of the second half effectively, with a few exchanges standing out for their simplicity and impact. In one such scene, Vela Ramamoorthy offers help to Yogi Babu, who later attempts to return the favour.

When Ramamoorthy tells him, “I don't take back what I've given as charity,” Yogi Babu responds, “I don't accept anything as charity.” This exchange captures the film's central idea of self-respect beautifully. It also reinforces an important point: the Narikuravar community does not seek charity but earns its livelihood through hard work, often selling goods on the streets.

The film raises pertinent questions about the origins of social prejudice and why discrimination based on caste, race and colour continues to shape human relationships. Sam CS's music adds considerable value, particularly in the emotional sequences, where the background score enhances the impact without overpowering the scenes.

Despite its occasional lapses in humour and a somewhat slow beginning, Singgaramm makes for a meaningful watch. It offers a glimpse into the lives of a community many of us have grown up seeing but may have never truly understood. More importantly, it challenges the social conditioning that often makes us look at marginalised communities through prejudiced lenses. While the film could have been more consistent in its portrayal, its intentions and the strength of its second half make it a relevant addition to Tamil cinema's growing engagement with socially rooted stories.