The trailer of Paramasivan Fathima, directed by Isakki Karvannan and starring Vimal, Sayadevi, and MS Bhaskar, has created quite a stir with its bold take on religious conflict and forced conversions. The YouTube link to the trailer was shared by NTK Chief Seeman and BJP State President Annamalai on their social media handles. The film appears to explore the undercurrents of sectarian strife, social engineering, and the conversion mafia in a small hill village.
The film revolves around two villages—Subramaniapuram, predominantly Hindu, and Yakobupuram, a Christian-majority settlement. The trailer sets the tone with a shocking opening scene of a couple being brutally murdered. MS Bhaskar who plays the role of a pastor described the two villages as polar opposites – He says, “The people of Subramaniapuram are very aggressive and indulge in violence at the drop of the hat. The people of Yakobupuram are very decent and educated and are capable of forgiving even enemies.”
This sets the tone for the film which intends to show how missionary propagandists portray Christians as peaceful people while the other community is not. The film also revolves around the love story between Vimal, who plays a school teacher from Subramaniapuram, and Chayadevi, who dons the role of a woman from Yakobupuram. This becomes the catalyst for a larger conflict fueled by ‘religious intolerance’ and conversion attempts.
Bold Themes And Hard-Hitting Dialogues
The trailer does not shy away from addressing provocative themes. MS Bhaskar, portraying a priest, delivers typical missionary propagandist lines to which the replies would be what is on the minds of people. For example, in an exchange between Vimal and Bhaskar, Bhaskar says, “If only the white men had not come here, you would have been begging.” And Vimal replies, “That white man came here to beg.”
In another scene between the police and Bhaskar where the police asks why the Yakobupuram people should not forgive the people of Subramaniapuram, Bhaskar says, “Sir they are barbaric people. When the British built a church here, they placed an idol of Mariamman in the church. Then we started worshipping Mariamman, thinking of Mary Amma.“ Some other dialogues of Vimal against conversion by the missionaries are also hard-hitting and those that need to be said.
Scenes featuring a Muslim youth dancing in a temple and police conducting so-called ‘social harmony marriages’ suggest the film’s attempt to scrutinize narratives around religious integration and coercion.
A Cinematic Commentary On Religious Conversions & Missionary-Led Tensions
The movie raises the question: what happens when love transcends religious boundaries? The trailer hints that such unions are met with violence, as the village resorts to killing grooms of interfaith marriages. The police then intervene, seeking to unravel the crimes tied to conversion-related conflicts.
Drawing parallels to the 2004 Tamil film Kovil, Paramasivan Fathima appears to take a more confrontational stance on the conversion mafia and the socio-political ramifications of demographic shifts. With a screenplay written by the director himself, the movie could be one of Vimal’s most politically charged projects.
Produced by Lakshmi Creations, the film features an ensemble cast including Manoj Kumar, Sri Ranjani, Athira, Aruldas, Kool Suresh, Kadhal Sukumar, and Veerasamar. The cinematography is helmed by Myna Sukumar, while Deepan Chakraborty has composed the music.
The trailer has generated significant attention online, with discussions about its bold narrative and controversial themes. Fans believe this film could be a career-defining moment for Vimal, who is known for choosing unique storylines. Given the subject matter, the film is expected to spark debate and could face scrutiny from certain quarters.
Kollywood’s Dravidianist film industry frequently depicts Hindus as oppressors while subtly promoting missionary and Dravidian propaganda. Paramasivan Fathima boldly challenges this narrative, offering a refreshing change in the otherwise ideologically charged landscape of “Dravidoidwood.”
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