Amaran: Nationalism and Tamil films in depth

As Amaran prepares for its Diwali release, the film stands at a crucial intersection of storytelling and sentiment, challenging audiences to reflect on their understanding of patriotism and identity in contemporary Tamil cinema.

Sivakarthikeyan in a still from Amaran trailer.

This Diwali, the Tamil film Amaran, starring Sivakarthikeyan and Sai Pallavi, brings to life the inspiring story of Major Mukund Varadarajan. This poignant narrative explores themes of courage, loyalty, and sacrifice, produced by Kamal Haasan's Raaj Kamal Films. By highlighting a hero who exemplified selflessness during difficult times, Amaran aims to reconnect Tamil cinema with patriotic themes.

Major Mukund Varadarajan, a member of the 44th Battalion of the Rashtriya Rifles, was killed on field while battling Hizbul Mujahideen militants in Kashmir in 2014. The film promises to showcase his extraordinary life and the sacrifices he made for his country. The recently released trailer provides a glimpse into the narrative, revealing the pride and honour that Major Mukund and his comrades felt as they faced the militants in Kashmir.

One powerful moment in the trailer features Sivakarthikeyan rallying his troops, commanding, “Let them know this is the face of the Indian Army.” This line captures Mukund’s spirit and determination, highlighting the bravery of soldiers on the front lines. The soldiers' expressions of unwavering resolve reflect the strong spirit of the Rashtriya Rifles, known for its courage and dedication.

Despite the excitement surrounding Amaran, it has faced some criticism. Some social media users have labelled the film's promotional material as "hypernationalistic" and "Islamophobic," diverting the discussion from the film's content to criticise Kamal Haasan’s identity and background. While this backlash does not reflect the majority view, it illustrates the complexities Tamil cinema encounters when engaging with themes of patriotism in today’s political landscape.

The relationship between Tamil cinema and patriotism has evolved significantly over the years. Initially, narratives centered on India's struggle for independence and colonial resistance. Films like Thyagabhoomi (1939) delivered powerful nationalist messages that resonated deeply with audiences. After independence, Tamil cinema continued to celebrate local heroes resisting British rule, as seen in films like Veerapandiya Kattabomman (1959) and Kappalottiya Tamizhan (1961). These stories emphasised a brand of patriotism rooted in regional pride. Noteworthy films like Hey Ram (2000) explored the complexities of nationalism, critiquing religious extremism while paying homage to the freedom movement.

As time progressed, the focus shifted toward themes of terrorism and internal conflict. Films featuring actors like Arjun and Vijayakanth often depicted patriotic officers combating terrorist threats. This portrayal resonated with audiences, showcasing a commitment to national security.

In contrast to Bollywood, which frequently highlights conflicts with Pakistan, Tamil filmmakers opted to address internal social injustices. This pivot aligned with the Dravidian movement's ethos, emphasising the challenges of caste discrimination and class divisions. Directors like Shankar raised pressing issues of corruption and social betterment through films like Indian (1996) and Mudhalvan (1999), connecting with audiences by focussing on relatable struggles.

In the late 2000s, narratives of patriotism in Tamil cinema often revolved around counter-terrorism efforts and the complexities of contemporary communal identities. Movies like Unnaipol Oruvan (2009) and Thuppakki (2012) featured characters involved in anti-terrorism operations, sometimes framing specific communities as adversaries. This shift complicated discussions about nationalism, moving beyond colonial narratives to confront modern societal issues.

A common perspective among Tamil audiences is against Bollywood, who churn out war-themed narratives against Pakistan. This raises important questions about Kollywood's approach to producing war films. Historical narratives in Tamil Nadu have emphasised internal conflicts and social issues rather than grand military battles, reflecting a distinct cultural lens through which these stories are told.

Tamil cinema often portrays the collateral damage to conflicts instead of glorifying warfare. It seems Kollywood has moved beyond traditional war narratives, choosing not to emphasise them repeatedly to validate its patriotism or celebrate national pride every few months. Even with the emergence of directors like Pa Ranjith, Mari Selvaraj, and Vetrimaaran, films like Captain Miller — while not strictly a war movie — tackle the freedom struggle without becoming fixated on a single theme.

Directed by Rajkumar Periasamy, known for his work on Rangoon, Amaran seeks to tell a story akin to the Hindi film Shershaah (2021), which portrays Kargil War hero Vikram Batra. Major Mukund's bravery in confronting terrorists in Shopian deserves recognition, and Amaran might bring back Tamil cinema’s tryst with patriotic films. By sharing Major Mukund’s story, Amaran invites audiences to honour a life dedicated to serving the nation. It will be interesting to see how viewers respond to this blend of personal sacrifice and national duty.