Parasakthi

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Movie
Original title Parasakthi
Country of production India
original language Tamil
Publishing year 1952
length 188 minutes
Rod
Director Krishnan - Panju
script M. Karunanidhi
production MS Perumal
music R. Sudarshanam
camera Maruthi Rao
occupation

Parasakthi ( Tamil : பராசக்தி) is a 1952 Tamil film directed by the duo Krishnan - Panju .

action

The three brothers Chandrasekharan, Gnanasekharan and Gunasekharan are stationed in Rangoon . They want to return to their hometown Madurai for the wedding of their sister Kalyani , but the onset of the Second World War stops the project and separates the brothers.

When Gunasekharan comes home after the war, he is first robbed by a vamp, he finds his father dead and his sister Kalyani widowed with a child. He decides to watch over his sister without revealing his identity. So he kills a priest who tries to rape Kalyani in the temple of Parasakthi. His girlfriend Vimala, a political activist who feeds Gunasekharan with the teachings of Annadurai , saves Kalyani's child on a boat trip, who tried to drown her out of desperation about social exclusion.

At the infanticide trial, Kalyani stands before her brother Chandrasekharan, who has become a judge. When he hears her life story, he recognizes her as his sister and suffers a heart attack. Gunasekharan, charged with the murder of the priest, defends himself with an incendiary speech .

background

With this film, the main actor Sivaji Ganesan made his film debut in a classic DMK film. The later Chief Minister Tamil Nadus M. Karunanidhi wrote the script and dialogues based on the story of MS Balasundaram . The lyrics to the soundtrack by R. Sudarshanam , which is also popular on record , were written by M. Karunanidhi, Subramaniya Bharati , Bharatidasan , KN Anualthango , KP Kamakshisundaram and Udumalai Narayana Kavi .

The film melodrama is one of the most elaborate stories in Tamil film, glorifying the Dravidian heritage and contrasting it with the wretched state of Tamil Nadu (Madras'). True to party doctrine, he lifts traditional kinship ties above caste discrimination, brahminism, superstition and the mechanisms of the black market caused by the world war. In particular, the film's anti-religious attitudes led to calls for censorship due to hostility to the Hindu, but it also earned the film attention and commercial success. Ganesan became the most important transmitter of the DMK ideology and replaced KR Ramaswamy in this position , who had this status with Annadurais Velaikkari (1949).

literature

  • MSS Pandian: Parasakthi: Life and Times of a DMK Film , 1991
  • Entry on Parasakthi in Ashish Rajadhyaksha, Paul Willemen: Encyclopaedia of Indian Cinema , p. 327 f.

Individual evidence

  1. ^ Films and the politics of convenience in The Hindu, June 12, 2006

Web links