Tamil new wave movies have very strong Ambedkarite, Periyarism and Buddhist iconography.
Even in Jai Bhim, tribal protagonists were not mute and meek. In Tamil new wave movies, barring Jai Bhim, lead characters are from subaltern groups. Hindi and Bengali new wave cinema had a ‘saviour syndrome’, in the sense that the characters who saved those oppressed almost always belonged to the elite social groups.We saw this in Sujata (1959) in which the dominant caste hero becomes the saviour of an untouchable girl, and recently in Article 15.Tamil new wave cinema has produced powerful Dalit and subaltern characters in films like Kaala, Asuran, Pariyerum Perumal and Karnan. Even Satyajit Ray, who is regarded as one of the greatest filmmakers, mostly had lead protagonists from dominant castes or they were ‘casteless.’ Even in Sadgati, the Dalit character Dukhi remained voiceless. Hindi and Bengali new wave filmslike Aakrosh (1980) by Govind Nihalani, Sadgati (1981) by Satyajit Ray, Paar (1984) by Goutam Ghose, Damul (1985) by Prakash Jha had Dalit and subaltern characters but almost all of them were poor, wretched and uneducated.Tamil new wave movies have a different standpoint and the section or aspect of society under the lens here is also poles apart. All filmmakers in Hindi and Bengali new wave cinema were from dominant caste background, whereas Tamil new wave movies are made by Dalit and OBC directors.These movies have depicted the harsh realities of Indian social life and haven’t shied from showing the truth, especially those pertaining to the horrors of caste system and the resistance to it by the Dalit, Bahujan and Adivasi communities.įilms such as Attakathi (2012), Madras (2014), Kabali (2016), Kaala (2018), Sarpatta Parambarai (2021) – all directed by Pa Ranjith Asuran (2019) by Vetrimaaran Pariyerum Perumal (2018) and Karnan (2021) by Mari Selvaraj and now Jai Bhim have given birth to a new genre, which is different from Hindi or Bangla new wave. The main differentiators are: These movies have caught the imagination of the audience not only in Tamil Nadu but around the country and even abroad. This school of cinema comes from the French La Nouvelle Vague.
Jai Bhim is the latest crowning jewel of the Tamil cinema, which has produced a new genre of film in the last decade. As far as the site’s popularity matrix is concerned, Jai Bhim is currently the most popular movie, overpassing the long-time favourite The Shawshank Redemption and The Godfather. The BBC, Yahoo News, Khaleej Times and The Independent reported that Suriya-starrer Jai Bhim is leading the global rating chart on IMDb. The Tamil film industry is making international headlines.
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