From glorifying Macaulay to anti-NEET agenda and sowing distrust over UPI, Rajini once again proves himself to be a Dravidianist propaganda tool in Vettaiyan Created by ‘Lie Bhim’ director

It was difficult for me to decide whether to write this review, especially as a lifelong fan of superstar Rajinikanth. In the past, I have been hesitant to criticize films like Kaala and Kabali, but after the third time being part of a Dravidian propaganda film, it is more than a fan can bear.

Most frustratingly, despite occasionally referencing Sanatana Dharma, Rajinikanth has become an actor who has starred in the most propaganda films in mainstream Tamil cinema. It is a painful fall from a devout Sanatani to a champion of the hate-mongering Dravidianist ideology.

If you are a die-hard Dravidianist or a thick-headed Rajini fan, you may want to stop reading now.

There is a reason why director TJ Gnanavel is called ‘Lie Bhim’ director. He is a fanatic who was caught red-handed spreading false propaganda in his film ‘Jai Bhim’, which caused division between different communities.

In the film, which focuses on the custodial death of a tribal man, the sub-inspector responsible for the death is depicted as a member of the Vanniyar community, with their sacred symbol ‘Agni’ prominently featured. However, while the film retained Judge K. Chandru’s real name for Suriya’s character, it changed the facts regarding the sub-inspector’s background. In reality, the officer involved was a Dalit Christian, and not a Hindu Vanniyar as depicted in the film.

After this misrepresentation came to light, members of the Vanniyar community condemned the filmmakers for inciting unnecessary provocation. Furthermore, in another scene, Suriya’s character subtly suggests that Brahmins are untrustworthy, adding to the film’s controversies over its portrayal of certain communities.

It is with this director that Rajini chose to join to make money.

The film opens with a surprising tribute to Thomas Babington Macaulay, the British politician who dealt the death blow to India’s knowledge systems. He is praised for bringing ‘social justice and equality in education’ as conveyed by none other than Amitabh Bachchan. I thought to myself, “Maybe I can overlook this and enjoy the film, especially with the typically strong intro scene accompanied by Anirudh’s powerful background score.” But this was just the beginning of the propaganda.

The opening scenes of the film depict issues like drug abuse in government schools and students causing law and order problems. I initially thought the film was challenging the Dravidian government, but soon realized it was just a symbolic gesture. Then the ‘godly teacher’ comes in and bravely complains to the police about the drug mafia. Surprisingly, the cop teams up with a tech-savvy thief and makes him a cyber expert, which was a bit laughable.

And guess what? The film presents illogical and irresponsible scenes, such as a petty thief who makes millions by exploiting fake QR codes in major malls and outlets – an unrealistic scenario that raises concerns about fostering unnecessary fear and distrust around UPI/QR payments codes.

The song Manasilayo features dancers in Kerala style Onam attire, but with the added twist of headscarves. Is this just a subtle attempt at reconciliation? What’s next? Burqa-clad dancers?

As the plot unfolds, we see a boy from the slums accused of a crime, and despite having ‘hard evidence’, the police somehow let him escape with no real security measures in place. This incredible storyline only becomes more frustrating as it progresses, with Rajinikanth delivering lines entirely focused on promoting Dravidianist propaganda.

The film takes potshots at the NEET exam and portrays it as a tool that favors the rich, without any real data to back it up. It is clear that the film puts forth a specific story but it doesn’t even try to make sense when the reality shows that many students from low-income backgrounds have managed to clear NEET. The allegations against entrance exams, especially NEET, lack any supporting data or substance as the film wrongly claims that they are conducted only in English. In reality, NEET is also offered in Tamil and other regional languages.

I couldn’t help but feel betrayed. What made Rajinikanth, once a symbol of strength and justice, sign up for this? Was it the money, or has he simply given up any ideological consistency? Produced by Red Giant, this film feels like a deliberate attempt to mislead its fans.

Furthermore, the film unfairly portrays Hindus in a negative light, while portraying members of minority communities as honest, virtuous and morally upright. Hindu characters, on the other hand, are portrayed as murderers, corrupt police officers, and greedy business owners, reinforcing biased stereotypes.

Supporting characters like Rohini, who plays an EOW officer, are given symbolic roles, presumably as a nod to their loyalty to the Dravidian-communist ideology. However, I couldn’t help but notice the absence of other Dravidian actors like Prakash Raj or Sathyaraj, who could have added even more to the propaganda narrative of this film.

I used to take my entire family to Rajini’s films, but I have stopped doing that in the last few years. I don’t want my children to experience how their father’s hero has become nothing more than a tool for Dravidian propaganda.

If there’s one thing the non-Dravidianists can learn from Kollywood, it’s how effectively Dravidian directors use cinema as a tool to shape stories.

This is not the first time that Rajinikanth has played in the Dravidian gallery.

In 2018, Rajinikanth played the lead role Kaaladirected by Dad. Ranjith, a filmmaker known for his anti-Hindu stance. Dressed in black, Rajinikanth’s character is depicted as the hero of a battle against villains wearing saffron shawls and tilaks. The film contains scenes that portray Hindu festivals in a negative light, showing gods like Lord Vinayaka and Lord Ram in an unfavorable way. The main antagonist, Hari (a name associated with Lord Vishnu), is depicted as a practicing Hindu who regularly refers to Krishna and Rama to justify his evil actions. At one point, Kaala even challenges Hari, saying, “If stealing my land is the Dharma of your God, then I will not spare your God either.” The film also made indirect references to BJP leader H. Raja, reinforcing negative stereotypes about the Modi government.

Rajinikanth next worked with Sun Pictures Pettadirected by Karthik Subbaraj, who sympathized with the LTTE and figures like ‘Thirumurugan’ Gandhi. In PettaThere are subtle attacks on Hindutva, with characters wearing tilaks, often depicted as religious fanatics, while Rajinikanth’s character helps a Muslim couple, Anwar and Anu, get married.

In his last flop show Lal Salaamdirected by his daughter, Rajinikanth plays Moideen Bhai, a ‘good Muslim’ character, while the villain (played by Adithya Menon) is depicted with a prominent red tilak. In one scene, Moideen Bhai criticizes the saffron-clad Senthil and says, “What have you done? You have mixed politics with religion! You injected poison into the children playing!’

NKR Iyer is a former Rajini fan.

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