Thandakaaranyam Review: A Gripping Tale of Systemic Oppression by Athiyan Athirai

Does humanity harbor the most profound evil? This unsettling question lingers as you delve into ‘Thandakaaranyam,’ director Athiyan Athirai’s profoundly moving and intricately woven social drama. In his second feature, the acclaimed director of ‘Irandam Ulagaporin Kadaisi Gundu’ masterfully contrasts the innocent aspirations and vulnerabilities of his characters with the brutal, unfair realities they endure. Through a meticulously layered screenplay, Athirai constructs a powerful critique of systemic oppression. The film, backed by Pa Ranjith, explores a politician-orchestrated scheme targeting Adivasi communities, touching upon themes of love, the profound significance of the forest, linguistic identity, the complex Naxal narrative, and the corrosive nature of avarice.

Set in 2008, ‘Thandakaaranyam’ draws its name from the vast Dandakaranya forest region, a landscape woven into the fabric of central Indian states and revered as a key setting in the epic Ramayana. At its core, like the tale of Ram and Lakshmanan, this film centers on two brothers. Sadaiyan (portrayed with compelling intensity by VR Dinesh, also known as ‘Gethu’ Dinesh) embodies a belief in confronting injustice directly, seeking to hold those who claim to uphold the law accountable for their misdeeds. His brother, Murugan T (Kalaiyarasan, in a truly remarkable performance), carries the collective aspirations of their tribal village. Sadaiyan, with eyes reflecting a grim awareness of the harsh realities ahead, implores Murugan to join law enforcement, hoping he can counter the very uniform often exploited to oppress the vulnerable. Yet, ‘Thandakaaranyam’ starkly illustrates that whether one resists or conforms, the relentless spiral of systemic oppression ultimately threatens to engulf all.

The opening scenes of ‘Thandakaaranyam,’ set in a paramilitary training camp near Ranchi, Jharkhand, evoke comparisons to films like ‘Taanakkaran.’ Here, recruits for the ISGS, a force assembled to combat Naxalites nationwide, undergo rigorous training. We witness Murugan and his fellow Tamilian cadet, Rupesh (Bala Saravanan), facing relentless bullying from their northern peers, led by the formidable Amitabh (a consistently phenomenal Shabeer Kallarakkal). However, Athiyan Athirai’s film transcends typical conflict narratives, playing a nuanced, long game. The narrative subtly challenges initial perceptions, making viewers reflect on their own assumptions, much like Murugan’s batchmates who might initially underestimate him. His seemingly exaggerated response to a classic Ilaiyaraaja song suddenly takes on profound meaning as the depth of his unspoken pain becomes clear.

The narrative delves deep into Murugan’s character, revealing his profound connection to his ancestral forest, the heartbreaking circumstances that led him to join the ISGS, and the arduous path he navigates. The film introduces a new geopolitical landscape: his brother Sadaiyan is embroiled in a fierce conflict with a corrupt local magnate, Muthukumar, who orchestrates a smuggling operation aided by a crooked forest officer – the very officer under whom Murugan precariously holds a temporary position. This precarious situation jeopardizes Murugan’s future while his social standing is relentlessly used to demean him, particularly by the parents of his partner, Priya (Vinsu Sam delivers a truly revelatory performance).

But the complexity doesn’t end there. Athiyan Athirai meticulously peels back further layers of this intricate narrative, exposing a world where everyone is merely a smaller fish, unaware they are caught in the jaws of a larger predator – the overarching system itself, where even law enforcement operates as a mere cog in a much bigger, often insidious, machine.

As you watch ‘Thandakaaranyam,’ echoes of films like ‘Taanakkaran,’ ‘Viduthalai,’ or ‘Visaranai’ might surface. However, Athiyan’s film, rooted in a real incident from Jharkhand, goes beyond merely creating believable realities. It crucially highlights how a single vulnerable segment of society can be relentlessly subjected to escalating oppression. The screenplay unflinchingly portrays Murugan’s journey, depicting his continuous struggle against obstacles. It compels viewers to consider the immense mental and physical fortitude demanded from someone like Murugan within this brutal training camp, where cadets are often treated inhumanely.

This is a film where even the slightest misstep or moment of ambiguity could derail the entire experience. While minor instances occasionally break the immersion – such as certain interactions between Murugan and Amitabh, or the inconsistent language use among some non-Tamil characters – Athiyan’s screenplay largely succeeds in keeping the audience captivated. Many films with such multifaceted plots risk feeling contrived, but Athiyan masterfully grounds ‘Thandakaaranyam,’ making its complex series of events feel organic and deeply convincing.

The film’s emotional resonance is expertly conveyed through its compelling music and dialogue. A recurring Oppari, a traditional lament, consistently strikes a poignant chord, much as it does during the film’s evocative opening credits. Many lines of dialogue are delivered with a deceptive gentleness, revealing sharp truths. In one tender scene, a woman shares her fantasy of walking naked through the deep forest with her partner, venturing into shallow waters until they reach the forest’s edge. When asked what lies beyond, and why not go further, her profound answer beautifully captures the text’s lyrical depth: beyond the forest lies their town, a place where they would be forced to reclaim all they had shed – their clothes, their familial duties, social expectations, gender, identity, and more. In another striking moment, a police officer’s chillingly casual dialogue redefines ISGS’s counter-terror operations, stating their purpose is to ‘deter the efforts of Naxalites, who are really all the tribal folks of the region who hinder domestic and international businessmen from exploiting natural resources through mining.’ The ironic detachment of the speaker only amplifies the statement’s shocking impact.

‘Thandakaaranyam’ is undoubtedly a challenging narrative, a monumental achievement that broadens its scope to sincerely address a grave reality: the crushing burden of animosity borne by society’s most vulnerable. It is a sorrowful cry that resonates deep within, an existential anthem that deliberately exhausts its audience to underscore a vital message. The film conveys numerous truths, but ultimately emphasizes one overarching point: humankind is, without question, nature’s most malevolent creation.

Experience ‘Thandakaaranyam’ in theaters this Friday.