Its unsettling and quite alarming to come across the new contention on the block. The new kid in question is Pa Ranjith who is in fact a mature and an explicit one.
Unsparingly taking pride in his creativity as Political statements in the modern milieu of Kabali and Kaala, he is the poster boy of modern progressive Dalit Voice. His latest short story ‘Dhammam’ streaming on SonyLiv is the part of Tamil Anthology feature called Victim’ and is at the center of a mildly brewing controversy. It portrays an opening scene in which a small girl is seen climbed on Buddha’s shoulders. The naysayers have suddenly voiced the metaphor as disrespectful and flippant. And this is just the beginning…
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Let us take a wide shot and interpret the filmography of the first black Director to head the jury at the Cannes Film Festival, Spike Lee who is considered as a pioneer for the new generation of Black Filmmakers and have depicted racial discrimination, rage and activism in all his films since 1986. His Malcom X’ and Blackkklansman’ are the shinning illustrations of his categorical POV which is graciously adopted by the newer black voices of Julie Dash, John Singleton, Ava Duvernay and Kasi Lemmons. While Barry Jenkins fetched Oscar for his riveting Moonlight in 2016, the year 2020 had One Night in Miami, Ma Rainy’s Black Bottom and Judas and the Black Messiah’ stunning the world with its collective, robust and a bold black approach. They were unapologetic and exceptionally competent to vent their anger in the guise of a sophisticated celluloid way out. Their uneasiness was emphatic enough for the world of critics to take a pause and notice. This is what is called an outcome of the drill and ascendency of Spike Lee and the global collective reverence to the art and the artists.
Here, is the opposite. We, in India get offended at the drop of the hat or lungi, pun intended. We are the intolerants of the new kind. The rationale we exhibit here is legendary and is deeply rooted. To make the matter worse, it is strangely getting rubbed on Dalits and Buddhists as the new Imitation game. So, when this gimmickry takes a potshot at Pa Ranjit and his work, then it is the point to ponder. Emulating Hindus by hosting Satyanarayana Poojas is one thing and boycotting each activism under the sun is another. If Hindus are offended by Padmavat and Oh My God! and PK, do Buddhists also are waiting with bated breaths to fit in their shoes, literally? Is this outrage on social media against Dhammam’ going to be the first brick in the wall?
Its unhealthy and immature, indeed. We cannot afford to dictate to the likes of Pa Ranjith who dares to wear his heart and philosophy on his sleeve. His creative credibility is indisputable and so is his depiction. Dhammam’ ends with this small girl showing compassion by helping a bleeding foe and that is what is the symbolism conveyed. It must be probed, analyzed, and then acted upon. Pa Ranjith’ school has given the rise to some stunning filmmakers like Vetri Maran with Asuran and Mari Selvaraj with Karnan. Its again naturally extended to Nagraj Manjule and Neeraj Ghaywan who are currently the flavor of the mainstay. Pa Ranjith’s brand of uninhibited Ambedkarite visual wizardry is the lighthouse for several marginalized filmmakers who are hungry to tell their stories.
Pa Ranjith is to Mainstream Indian Ideological Cinema What Spike Lee is to Black Cinema. He brilliantly imbibes his philosophy in a tight frame of commercial cinematic grammar and carries the new legacy with an elan. We, as filmgoers need to be considerate and more cinema literate rather than jumping fast on the routine boycott-bandwagon. It is time to spread our arms and to be more benignant and compassionate. That is what Dhammam’ is all about…
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