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Within the vast and hilly forests of a scenic village, Viduthalai (meaning “liberation” in Tamil) paints a scathing portrait of the villagers’ struggles as a result of the establishment of a mining corporation in the district. An armed resistance group by the name of “Makkal Padai” (People’s Army) laid down its defiance to the setting up of the mine, which later grew into constant clashes between them and the state forces. Throughout the film, we can see recurrent examples of labour and resource exploitation, police brutality and custodial violence, along with how the media is used as a tool to push state propaganda.
It is widely known that, for far too long, imperialist nations and corporations have pursued the relentless theft of resources from developing countries across continents. In the Indian subcontinent, Adivasi populations in various commodity-rich locations are among the most significant victims of these thefts, and have expressed fierce resistance to these capitalist plunders. Through the decades, they have fought for their rights over jal-jangal-jameen (water, forest, land) and have thrown numerous tough battles at the state in tenacious spirits. Through its unflinching portrayal of the pursuit of profit at the expense of endangering the natural resources of the forests, Viduthalai serves as a stern indictment of the exploitative practices perpetuated by powerful institutions and corporations in this world plagued by imperialism. In the beginning of the film, the state government justified its approval of themining corporation by assuring the villagers that jobs would be provided with the establishment of the mines. This is an example of how the tokenistic state uses deceptive assurances to gain the trust of the masses (usually adopted in the form of reforms). The story focuses mostly on Kumaresan, a new police constable with a friendly temperament and compassionate personality. During his time working with the special task force that was designated to prevent further activities of the Makkal Padai, he eventually learns that he is powerless and helpless in the system. The rest of the constables, indifferent to the plight
of the oppressed, aimlessly follow the orders of the superior officers and perform operations that directly hurt the masses.
Through this, Director Vetrimaran attempts to highlight how the police system works in true fashion. This can be understood further using the concept of the Repressive State Apparatus (RSA). According to French Marxist philosopher Louis Althusser, the RSA consists of the army, the police, the judiciary, and the prison system. In their function, they “operate through violence”, which includes non-physical forms, and act to repress any individual or group that does not adhere to the existing status quo. The police brutality depicted in this film is barbaric, and it exposes the lengths towhich the police will go to enforce their authority and will over the subjugated masses. Custodial violence has become increasingly common in recent times, and the police don’t fear any repercussions. The manner in which the police officers in the film use their unrivalled power to intimidate and harass the ‘suspects’ in the name of interrogation is an accurate display of the boundless crimes that they commit. However, the reality is far more cruel and inhumane, and most of the cases go undocumented.
Furthermore, it is essential not to overlook the role of the media in circulating narratives that aided the state in constructing a false image of the Makkal Padai (who were considered enemies of the common people) and portraying the police in a heroic light (as saviours of the common people). These narratives were crucial in their attempts to weaken the support of the Makkal Padai and to strengthen their own agenda by claiming they serve the interests of the masses. The media often presents a biased perspective that favours the dominant group and reinforces existing stereotypes and prejudices about the marginalized group. We must critically examine every bit of information we receive from mainstream media outlets. After watching the film, one can question the exaggerated and misleading reports about uprisings and rebellions led by marginalized people in our country’s villages, which continue to receive attention in ordinary discussions. One can also recognize how the police, the military, and the state as a whole are able to avoid accountability for their crimes through media narratives that appraise the “patriotic” massacres of the rebels.
When the police chase Vaathiyaar, the locals in the vicinity put their bodies on the line to protect him, symbolizing how the fight was imposed on them by the system and the Makkal Padai were th
only ones fighting for them. As much as we would imagine that rebellions are motivated primarily by an urge for retaliation, it is important to bear in mind that the oppressed masses fight back in order to survive; and to live with dignity.
To end with a quote by Mao Tse-Tung:
“As far as our own desires are
concerned, we do not want to fight even
for a single day. However, if
circumstances force us to fight, we can
fight to the finish.”
