Sivaji got star status overnight, courtesy Parasakthi

Many occurrences amend political boundaries. But a movie being the prime mover of electoral realignment is rare. 1940s Tamil Statesmen had just realised that cinema as a medium could upset and recast the carefully patrolled boundaries of political partisanship.

Though Congressman Sathyamurthi agreed, a small section of the Congress elite led by Rajaji became cinephobic and clung resolutely that cinema was incorrigibly a sign of a run-down culture. The film Parasakthi (1952 Diwali release) was a ‘sociological satire’ and was purposely designed to be as chaotic as a bull in a china shop. Parasakthi (the Mother Goddess) was an ironical name for it was mostly anti-religion. Daringly in an industry that relied only on family-friendly devotionals or historical tales, it challenged the very keystone that held the arch together.

By pointing out the gaping lacuna in social structures, the movie scoffed at the judicial system, the caste consciousness and the ills of religion. More importantly, the film by playing the title song composed by Bharathidasan seeking a sovereign Dravidian nation was also challenging the Indian Constitution.

Parasakthi was regarded as a ‘propaganda vehicle’ for a new political party — DMK. There was much opposition and people tried to stall the movie’s running. Karunanidhi’s blazing dialogues delivered by the eloquent Sivaji Ganesan set the box office on fire and producer AVM went laughing all the way to the bank. But the lasting impact of the movie was that the film made it impossible to divorce prolific political career and cinema thereafter.

The genius poet Kannadasan declined to be a lyricist, and instead acted in a minor role as a court judge, as he was determined to be a part in the potentially cult movie. Parasakthi was one of the rare movies which featured songs written by Bharathidasan and Subramanya Bharathi. Parasakthi was produced based on the stage play written by Pavalar Balasundaram. It was not just a propaganda film revolving around a divided Tamil family left traumatised by World War II. The film starred debutant Sivaji Ganesan (paid a monthly salary of Rs 250) and a host of drama actors. When Parasakthi shooting begun, Sivaji, after years of struggle and starvation, faced a movie camera in AVM Studio and spoke his initial words “success”.

The word turned out to be a meaningful and predictive word for him. Pandaribai, Sivaji’s first heroine was also the debut heroine of Kannada superstar Rajkumar. In a field where heroines age faster than heroes, Pandari even acted as Sivaji’s mother in many movies.

Sivaji often failed to impress the movie moguls of his time. SS Vasan had earlier rejected him in Chandralekha and even hinted he was cross-eyed. Co-producer Perumal insisted on casting Sivaji Ganesan, whom he had seen in a female role in the play Noor Jahan. AV Meiyappan wondering whether a thin young man known for his female impersonations could carry the burden of playing the lead in a big film was reluctant. Halfway through, AV Meiyappan dissatisfied with Ganesan’s ‘thin’ physique and low confidence levels, wanted him replaced. Perumal pleaded for one more chance and Sivaji got a reprieve. In fact, Sivaji suffered humiliations during the filmmaking; he once told a historian that “the trees in between the floors in AVM Studio have grown not because of the water that Chettiar poured, but by my tears.”

When released, Parasakthi faced controversies because of its portrayal of Brahmins and Hindu customs in poor light. The state government requested the centre to reconsider the film certification, but they declined due to a previous and positive report by a Madras intelligence officer. Wild rumours that the picture might be proscribed drew better crowds to cinema houses and stuck to the projector for 175 days.

Sivaji Ganesan achieved star status overnight. Karunanidhi clambered up to greater heights and his dialogues were sold separately on gramophone records. His dialogues became so popular that roadside entertainers used to recite long passages from the film in the market area of Madras and collect money from bystanders. Sivaji’s fans would rate Parasakthi courtroom scene, where he orates breathlessly on the evils of society from a witness box, as his best performance ever.

Karunanidhi spent sleepless nights fearing Parasakthi would be banned. But during his tenure as Chief Minister in 2006, he barred the release of The Da Vinci Code as it would affect the religious feelings and sentiments.