National Award in Major Categories – What is special about ‘Sivaranjani and some other women’?

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The 68th National Film Awards have been announced for the films released in 2020. It can be seen that Tamil cinema has dominated in this. In particular, ‘Sivaranjani and some other women’ has attracted attention along with ‘Surairappouttu’ and ‘Mandela’.

National Award for Best Tamil Film, Best Supporting Actor (Female) for Lakshmi Priya Chandramouli and National Award for Best Editing for Sreekar Prasad. What is so special about this film? –

Here is a redistribution article:

Commercial films with women can be grouped into two categories. Either presenting the woman as a feast for the male eye or portraying her as having a bad character. Another is to say that the film is centered on the woman, and that she is aware of other people’s decisions and that she speaks bad words and thus shows the man that she is not lazy.

Essentially, the protagonist’s adventures are shaped by bullying. What makes the epic veneer concept around Jigina is that it’s mostly the characters that are built like this that are gnawing from the inside.

The reason is that these are the images men paint about women. In the midst of such films, miracles did not happen like figs blossoming for some time. Director Vasant S Sai’s 2018 film ‘Sivaranjani and some other women’ released on ‘Sony Live’ is such a fig.

In this society where women’s rights are understood as greed, we do not even realize that all the needs of women have shrunk to the minimum recognition of their existence.

Three stories of three women: This anthology film tells the story of three women from different eras. Vasant has made this film based on short stories written by writers Ashokamithran, Aadhavan and Jayamohan.

Saraswati, Devaki and Sivaranjani, though different in time, stand on the same line in being oppressed as the second sex. Not only the way of life is changing with the times, but violence against women is also entering modernity. This violence is staged by men and sometimes women because of the subcategories of security, rights, culture, and culture. That’s what this film is all about.

These three did not create a sky-bending adventure just because of the heroine. He did not achieve success in his favorite field. Just like most Indian women move every day. That’s why this film gets close to women’s hearts; Makes conscientious men tickle a bit.

This film questions the assumptions of masculinity and femininity laid down by this society. It naturally tells us that what we celebrate as masculinity is so ugly. But there is not an iota of artificiality anywhere. There are those who dismiss slow-motion images as art. Do most women’s lives really turn out worse than this?

Saraswati affirmed: Saraswati, who is married with a child, belongs to the 1980s. She is one of those housewives who longs for her husband to say a word of love. In a house where poverty is rampant, the husband’s domineering arrogance and arrogance are combined. Sometimes absence can be more comforting than one’s presence. A smile can be seen on Saraswati’s face after her husband ‘disappears’ from her life. She who was always hunched over with a crooked crown now walks upright and relaxed.

Saraswati is also a witness to the fact that economic self-reliance can change a woman’s personality. She has a purse with a ripped zip and a long, large purse for work. Until then, it seems that women expect this kind of relaxation as she sits comfortably with a cup of coffee on the chair where only her husband sat.

Devaki who dares to fight: ‘Devagi’ shows that despite advancement in education and living standards, women still do not get all the basic rights. Devaki, who is educated, goes to work and calls her husband by his first name, belongs to the late 1990s. When asked why she didn’t go to work despite her education, the elder daughter-in-law of the house mockingly says, ‘I don’t like to dress like that and smile and talk in front of people.’

We have seen in so many films the regressiveness of conflating work with the woman’s behavior and showing the earning woman as arrogant. But the impact of the scene in this film is different. Purushalaksana raises the question of whether it is immoral for a woman to do the same if a man goes to work.

We have singularly understood only hitting and kicking as domestic violence. Disrespecting a woman’s privacy is also violence. What’s the point of pouring money into a house where all his actions are being watched? What value is there to a woman when her husband and his family force her to do something she refuses to do? Devaki’s act of burning the pages of her diary with a steady gaze in the lamp perfectly conveys the interplay between culture and slavery. It is not easy for a woman to break free from the suffocating family system. Society is more violent than that. Devaki accepts the challenge knowing that she has to prepare for another struggle.

Running Ranjani: ‘Sivaranjani’ is in her second year of college after globalization. Ranjani, an athlete, gets selected for a national level competition. Is there a woman’s pride? Is it to reduce the burden of parenthood by marrying a homemaker? How long can they live with fire in their belly? Ranjani was not spared from this backwardness of the society.

She obeys her parents without saying a word. Planning or postponing childbearing is not allowed in their caste. So, she continues her studies next year with a full stomach. The legs that ran on the playground got the great privilege of running inside the house as a husband, child, and family members.

Along with running inside the house, she also has to run on the road to take her daughter’s food. Only then will she get at least a minimum round of applause. Husband? Pity, Ranjani is able to live so luxuriously because he goes to work and earns? Her parents may have regretted that they had set up a good life for their daughter. But Ranjani is sitting on that dust sheet in pain that the trophy she won is not even in the store room of the college. There may be sivaranjanis in our home too who lose their dreams and ambitions due to the constraints of family structure.

Child rearing has always been a chain that binds women’s feet. Most men believe that their duty is done with the creation of the child. Saraswati comforts the crying child by saying, ‘Azhadamma, papa is not sleeping’, and the mother-in-law who says, ‘I will take care of her, you go and take care of him’, when Ranjani comes and feeds her daughter after taking care of her husband’s needs, when she has not fed even a mouthful of idli to her granddaughter.

Saraswati, Devaki and Sivaranjani have a similarity. They have no appetite at any stage. There is no emptiness that we have lost. We have the determination and courage to bow down to your oppression and violence. Director Vasant Sai’s film is a solace to the eyes that are bored of seeing people running around the hero and people dancing in sleeveless clothes on the snow. It tells us to consider ourselves.

Contact: brindha.s@hindutamil.co.in

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