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Parasakthi Disaster: A Complete Washout For Anti-Hindi DMK Propaganda Film On Day 3 Itself Despite Paid Reviews And PR

By
The Commune
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In what can only be described as a spectacular disaster at the box office, Sudha Kongara’s much-hyped DMK propaganda “Parasakthi” has turned out to be a colossal failure – a bloated, agenda-soaked period drama that has crashed and burned within its first three days of release.

From day one, the film was engineered not as cinema, but as naked pro-DMK propaganda. Timed conveniently ahead of the 2026 assembly polls, produced by Dawn Pictures (deeply tied to the DMK ecosystem), and distributed by Red Giant Movies, owned by DMK scion Udhayanidhi Stalin’s son Inban Udhayanidhi, the film was less a creative effort and more a poorly disguised party pamphlet.

Despite aggressive PR push on social media—filled with generic praise for Sivakarthikeyan’s “restrained acting,” Leela’s “convincing presence,” and the film’s “powerful BGM” – audiences have voted with their feet. Theatres across Tamil Nadu are reporting empty screens, cancelled shows, and a resounding silence where the makers had hoped for applause.

A Template-Driven Propaganda Piece

Billed as a retelling of the 1965 anti-Hindi agitations, “Parasakthi” sanitizes history to suit a Dravidianist narrative. The film shamelessly whitewashes the role of EV Ramasamy Naicker, who had actually opposed the 1965 protests, while turning Congress figures into cartoon villains. Complex history is flattened into a simplistic “Tamil pride vs. Hindi imposition” binary conveniently ignoring the BJP and focusing its ire on Delhi in general.

Social Media Buzz vs. Ground Reality

A glance at social media shows a clear divide. While verified accounts and “film critic” handles, many tied to Dravidianist outlets, have been posting generic praises about “powerful performances” and “technical finesse,” real audience reactions tell a different story.

The irony of ironies was that North Indian viewers were praising the film online despite it not even being released in Hindi belts: This only highlights the artificial nature of the online hype—a curated PR bubble that has failed to translate into actual theatre footfall.

While Telugu and Kannada cinema are giving global blockbusters like “RRR,” “Pushpa,” and “Kantara”, rooted in local culture but universal in appeal, Tamil cinema’s Dravidianist lobby remains stuck in a tired, divisive, politics-first rut. “Parasakthi” was meant to be a rallying cry ahead of the elections. Instead, it has become a case study in how ideological overreach can kill creativity and repel audiences.

As theatre occupancy drops sharply by Day 3 and negative word-of-mouth spreads like wildfire, one thing is clear: “Parasakthi” isn’t just a bad film, it’s a failed political experiment. And no amount of paid reviews or PR hashtags can save it now.

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