CHENNAI: Sudha Kongara's Parasakthi is a film rooted in the historical backdrop of the language agitation against Hindi imposition and the Official Languages Act. The title Parasakthi carries a strong political and cinematic legacy, as it was also the name of the landmark 1952 film that marked the debut of Sivaji Ganesan and established former Tamil Nadu chief minister Kalaignar M Karunanidhi as a powerful dialogue writer. Hence, the announcement that a film on language struggle would carry the same title created heightened expectations.
The anticipation further intensified as the film was initially set to clash with Vijay’s Janayagan at the box office, triggering political debates and criticism on social media. Delays in censor certification also added to the buzz before Parasakthi's eventual release as scheduled.
Produced by Aakash Bhaskaran of Dawn Pictures, the film, which also stars Ravi Mohan, Atharvaa, and Sreeleela, released worldwide today (January 10) in four languages. Although Parasakthi opens with a disclaimer stating that its events and characters are fictional, and not based on real historical incidents, nearly every frame, dialogue and character evokes the anti-Hindi imposition language struggle of the 1960s.
Set against the backdrop of the 1963 Official Language Act, the first half, which moves at a measured pace, introduces Sivakarthikeyan as Chezhiyan, a college student who leads a group called Purananooru Padai that protests against Hindi imposition. A pivotal train protest sequence and a violent clash with an Intelligence Bureau officer, played by Ravi Mohan, lay the foundation for the antagonist’s motivations.
A convincing scene in the first half shows Cheliyan later failing a railway job interview because he cannot speak Hindi, a setback that pushes him back into the anti-Hindi imposition struggle. Then, a shocking murder of an important character just before the interval marks the emotional turning point of the film.
The latter half of Parasakthi moves swiftly with a focused screenplay and hard-hitting dialogues. Scenes featuring Perarignar Anna and Kalaignar Karunanidhi are particularly impactful, which drew thunderous responses from audiences. However, many dialogues in the film have been removed by the censor board, forcing audiences to watch only the actors’ lip movements in several scenes.
The climax is inspired by the February 12, 1965 police and military firing on protesters opposing Hindi imposition in Pollachi. A female character resembling former prime minister Indira Gandhi plays a crucial role in the narrative. Dialogues delivered by a character representing then Madras Province chief minister M Bhaktavatsalam, including derogatory remarks about protesting students, such as 'kali pasanga' and describing non-Hindi-speaking students as 'tharkuri' and 'mentally ill', highlight the Congress party’s historical stance during the language agitation.
Coming to the performances of the Parasakthi star cast, Sivakarthikeyan's portrayal of a fierce activist in the 25th film of his career is effective and believable. But it is Ravi Mohan who takes the cake with his commanding and often menacing presence as the antagonist. Sreeleela, who plays an All India Radio announcer in her Tamil film debut, brings warmth in her scenes with Sivakarthikeyan. Atharvaa plays his part well, and conveys the required emotions convincingly.
The film also marks music composer GV Prakash Kumar’s 100th project, and his background score lifts the film considerably, echoing the impact of his work in Aayirathil Oruvan and Asuran. He has also sung two romantic tracks, 'Rathinamalai' and 'Muthaarame,' both well-composed and well-received.
Overall, Parasakthi stands out as a well-crafted political drama. Director Sudha Kongara skillfully blends historical themes with commercial cinema, delivering a compelling and emotionally-charged portrayal of the anti-Hindi imposition movement.
Rating: 3.5/5 stars