Karnan’s warriorhood exists in an alternate, anti-caste re-telling. Selvaraj’s Karnan doesn’t need to be a Kshatriya to gain legitimacy. In the Mahabharata, Karna is a Kshatriya brought up outside his caste by a charioteer. This defiance itself antagonises their oppressors, who think they have no right to such claims. These characters claim the names reserved for deities and upper-caste characters in the Mahabharatha epic and wear them with fierce pride. He gives his characters the names of Hindu gods and mythological figures, such as Karnan or Karna, Yeama Raja or Yama, and Draupathi or Draupadi. In portraying an epic battle, Selvaraj forges a new mythology from the old. The bus stand means the difference between dependence and agency, which is why the upper castes do everything in their power to block its construction. The lower-caste village needs a bus stand, which will ensure access to healthcare and education and provide an end to isolation. Karnan is set in a village in the fertile Tirunelveli belt in southern Tamil Nadu, where systemic caste-based cruelty festers but resistance lives amidst the fields and the greenery.
On May 14, the Dhanush-led movie was streamed on Amazon Prime Video, leading to appreciation and curiosity from non-Tamil viewers. Selvaraj’s second film after Pariyerum Perumal (2018) was released in cinemas on April 9. It’s the story of inversion, of the upturning of deeply entrenched power blocs, of battles both visible and invisible. Tamil director Mari Selvaraj’s new movie Karnan explores assertion at many levels. So many books, so little time: Seven recent books (including one about cats) no one should miss.India’s ODI squad for SA tour: Rohit Sharma ruled out KL Rahul named captain, Jasprit Bumrah deputy.
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