Karuppu Review

Karuppu is directed by RJ Balaji and stars Suriya in the lead role alongside RJ Balaji, Indrans, Trisha, Natty and Anagha Ravi with music composed by Sai Abhyankar and cinematography handled with a visually stylized approach that clearly aims for a larger than life theatrical experience. Positioned as a proper commercial entertainer the film blends mass moments, emotional drama and action trying to create a strong fan driven atmosphere around its central character.

The story revolves around Karuppan, a rooted and intense character played by Suriya who finds himself caught in a world filled with conflict, emotion and larger social tensions. Without revealing much the film moves through themes of power, corruption and identity while constantly balancing between emotional storytelling and mass commercial presentation. It is clearly designed as a theatrical film that prioritises crowd moments and elevation sequences.

In terms of characters the film completely revolves around Suriya’s Karuppan and the film makes sure that every major moment ultimately leads back to him. Suriya delivers exactly what the film demands and handles the mass portions with confidence. Indrans and Anagha Ravi stand out the most because they feel like the only grounded and emotionally sane characters in the film. Their performances bring some much needed realism into an otherwise heavily commercial world. RJ Balaji plays a neat supporting role and does his part well without trying too much. Natty also fits naturally into his character and does justice to it. Trisha however gets a very weak role that adds almost nothing to the narrative and exists mostly for hero elevation and commercial convenience. But considering the kind of film Karuppu wants to be this treatment of characters are justified.

The screenplay and writing are where the film struggles the most. It constantly shifts between being a proper plot driven film and a full fledged fan service commercial entertainer. In trying to satisfy both sides it never fully succeeds at either. The writing lacks consistency and the film is either extremely high in energy or completely flat with very little balance in between. Commercially the film definitely has strong moments and several mass scenes genuinely land well in theatres. There are elevation sequences that create goosebumps and Suriya carries those moments effectively. But the narrative around those moments often feels weak and underdeveloped.

The making of the film however feels strong. Visually Karuppu has a solid aesthetic identity with frames that mostly stay less colourful which actually works in favour of the film’s tone. But whenever the film shifts into vibrant shades especially reds it becomes overly saturated and starts resembling the exaggerated visual style often associated with recent Telugu and Kannada commercial films. Still the overall making remains impressive. The editing keeps the film moving and the VFX work is handled reasonably well for the kind of commercial scale the film attempts.

Music plays a huge role in holding the film together. Sai Abhyankar delivers a soundtrack and background score that heavily contribute to the energy of the film. The BGM especially elevates many of the mass moments and becomes one of the main reasons certain scenes work so well theatrically. The songs are catchy and fit the vibe of the film perfectly. At the same time most of the lyrics are barely understandable and often feel like random sounds blended into trendy production. But the tune and overall vibe are strong enough that audiences hardly seem to care. Maybe this is simply where Gen Z commercial music is heading. Anyone expecting something soulful or lyrically memorable will probably not find that here.

Karuppu constantly tries to balance plot, emotion and commercial celebration but in doing so it often loses depth. The first half despite good performances from Indrans and Anagha Ravi suffers because the writing never allows the emotional portions to fully connect. The audience understands the characters but rarely feels attached to them. Because of that the emotional backbone of the story never becomes strong enough.

Towards the interval the film hints at something deeper and positions that emotional core as the driving force of the narrative. But after the interval the film enters a completely different mode. Even though the plot technically continues in the same direction the second half feels tonally different. If separated clearly the first half feels more like a film while the second half often feels like watching a series of elevated reels stitched together.

The high moments themselves are mostly generic but still enjoyable inside a theatre atmosphere. One major issue however is the constant use of references. Audiences have already complained enough about modern Tamil cinema depending too heavily on pop culture callbacks and meta references and Karuppu continues doing the same thing repeatedly. Whenever the film begins losing pace RJ Balaji’s writing fills scenes with references instead of strengthening the screenplay. At this point it genuinely feels like filmmakers need to move beyond reference culture and focus more on writing solid narratives.

The story of Karuppu definitely had potential but it never fully uses it. Every strong commercial film ultimately survives on emotional connection and that is exactly what this film lacks. None of the characters stay with the audience emotionally despite several of them having strong scope. But as a celebration driven theatrical entertainer the film still works especially for Suriya fans. Towards the climax the film enters a zone similar to recent large scale Telugu and Kannada commercial films and those moments do work well inside a packed theatre. But those moments alone are not enough to completely justify the uneven second half.

Overall Karuppu is a decent commercial entertainer that works best inside a theatre atmosphere. It is not a film that will hold the same impact on OTT. Despite its flaws it still manages to deliver enough theatrical highs to remain watchable. 

Rating: 6/10 ⭐️

The Irony of Calling Others Fascist

Before the election Mr. Joseph Vijay stood on stage and asked

“அவங்க பாசிஸம்னா நீங்க என்ன பாயசமா?”

A political line. A line meant to portray the previous government as fascist.

But the question now is this.

What exactly is fascism?

Fascism is not just dictatorship. It is not just authoritarian control from a government. Fascism also grows through political culture. Through blind following. Through emotional mob behaviour. Through the inability to tolerate criticism. The moment criticism becomes unacceptable and questioning becomes dangerous a political movement slowly starts entering that space.

And now look at what is happening online.

Try criticising TVK. Try questioning Vijay politically. Try raising concerns about decisions or contradictions. Most of the time there is no debate. No counter argument. No political response. Abuse begins immediately. Personal attacks begin immediately. The goal is not to answer criticism. The goal is to silence it.

So then the question naturally returns.

If this is not political intolerance then what exactly is it.

One cannot keep screaming “fascism” only when it is convenient against opponents while behaving the exact same way when criticism comes towards their own side. That is hypocrisy. Political maturity is tested not by how aggressively a movement attacks others but by how calmly it handles criticism against itself.

Right now many TVK supporters behave as if Vijay is beyond criticism. The moment someone questions him politically they are immediately branded. This is not democratic culture. This is fan culture entering politics.

And that is dangerous.

Because democracy survives through criticism. Not through worship.

“It is much easier to shout, abuse and howl than to attempt to relate, to explain.” 

            - Lenin 

And that is exactly what healthy political culture requires. The ability to explain, debate and disagree without turning criticism into hostility.

A movement that cannot tolerate criticism slowly becomes insecure. And insecurity in politics often turns into aggression. That is exactly why every healthy political culture needs criticism. Without criticism leadership becomes egoistic. Support becomes blind loyalty.

This is where the double standards become impossible to ignore.

Before elections fascism was used as a slogan against opponents. But today even ordinary criticism against TVK is met with organised abuse online. So what exactly changed. If suppressing voices and attacking dissent is fascism then why does it suddenly become acceptable when supporters of a new government do the same thing.

And this is where Mr. Joseph Vijay himself cannot stay silent.

Leadership is not just about giving political punch dialogues on stage. Leadership is also about controlling the culture growing around you. If supporters are openly abusing anyone who questions the party then where is the leadership asking them to stop. Where is the message encouraging democratic discussion. Where is the call for political maturity.

Because if criticism itself becomes unacceptable then what exactly separates this from the behaviour they once condemned.

First learn to accept criticism.

First learn to answer questions politically instead of emotionally.

First become a movement that can tolerate disagreement.

Then speak about fascism.

If this is how your own supporters behave politically then this question is to TVK.

“அவங்க பாசிசம், இவங்க பாயாசம்னா…நீங்க என்ன ஆபாசமா?”

The Oath That Pushed Tamil Aside

For the first time in Tamil Nadu’s political history a Chief Minister oath ceremony pushed "Tamil Thai Vaalthu" to the end. Let that sink in properly. 

Not in Delhi. Not in a national parliamentary event. Not in a Prime Minister’s oath ceremony.

In Tamil Nadu.

A state built on language politics. A state where people fought and died protecting linguistic identity. A state that literally has Tamil in its name.

And yet the ceremony began with "Vande Mataram", moved to the National Anthem and only then ended with "Tamil Thai Vaalthu". Tamil was made secondary inside Tamil Nadu itself.

This is not some small procedural change as supporters are trying to portray. This is symbolism. And symbolism matters because politics has always worked through symbols before it works through policy.

The easiest defence now is this.

“It is protocol because the Governor attended.”

But even that argument weakens when the actual guidelines are examined.

The Centre’s recent circular regarding "Vande Mataram" itself was clarified by the Supreme Court as being “purely advisory” and not mandatory. The Court also stated that there are no penal consequences for non compliance. (The Indian Express)

Which means this was still a choice.

And that is exactly why people are questioning it.

Because if Tamil Nadu itself cannot place "Tamil Thai Vaalthu" first during its own Chief Minister oath ceremony then where exactly is Tamil identity supposed to stand with priority.

Why was Tamil pushed behind in Tamil Nadu itself. The usual emotional response from blind supporters is predictable.

“Nation comes first.”

Fine. Then let us speak logically.

This was not the oath taking ceremony of the Prime Minister of India. This was the oath taking ceremony of the Chief Minister of Tamil Nadu. The office itself exists to govern Tamil people within Tamil Nadu. Then why should Tamil identity stand behind everything else in its own state function.

And if the argument is truly about putting the nation first then another uncomfortable question must also be answered.

Why should Vande Mataram become the representation of national identity for everyone when it itself comes from a Sanskritised Bengali cultural framework unfamiliar to huge sections of the country. If unity is truly the argument then where is the equal cultural representation for all states and languages. Why is one region’s symbolism repeatedly presented as “National culture” while others are expected to adjust.

This is exactly how cultural domination begins.

Slowly. Symbolically. Repeatedly.

People are forgetting history too easily.

Tamil Nadu did not resist linguistic imposition for entertainment. The anti Hindi agitations were not dramatic political stunts. Students literally died on the streets because they understood one thing clearly.

Periyar said:

“மொழி அழிந்தால் இனம் அழியும்.”

If a language dies, the people tied to it slowly disappear.

And now look at where we are.

People are already forgetting how to speak proper Tamil. English has become status. Hindi is slowly entering through media commerce and politics. Tamil words are disappearing from everyday conversations. Children are growing up disconnected from their own linguistic roots. Even inside Tamil Nadu speaking fluent Tamil is sometimes treated as less modern.

And now even a Chief Minister oath ceremony cannot place "Tamil Thai Vaalthu" first.

This is not progress. This is dilution.

What makes this even worse is the silence from the same people who scream about Tamil pride. Suddenly everyone becomes quiet when Tamil identity is visibly pushed behind national symbolism inside Tamil Nadu itself. Looks like Tamil pride only matters in social media edits.

No one is speaking against India here. That lazy argument itself shows intellectual dishonesty. Tamil identity and Indian identity can coexist. But coexistence does not mean Tamil must bow its head inside Tamil Nadu.

That is the difference people are refusing to understand.

Our ancestors fought to make sure Tamil would never become secondary in its own land. Today people are voluntarily celebrating the exact thing they once resisted.

This is Shameful.

விஜய் எங்கே?

Disclaimer: This piece is presented in both Tamil and English. The Tamil version is the original text. The English translation follows the same structure and meaning for accessibility to non Tamil readers. Kindly Scroll down.

தேர்தல் முடிவுகள் வெளியாகி நான்கு நாட்கள் ஆகிவிட்டது. தமிழ்நாடு சமீப காலங்களில் கண்ட மிகப்பெரிய அரசியல் மாற்றங்களில் ஒன்றை பார்த்திருக்கிறது. ஆனால் இன்னும் ஒரு முறையான பத்திரிகையாளர் சந்திப்பு இல்லை. நேரடி மக்கள் உரை இல்லை. வெற்றி பெற்ற தலைமையிலிருந்து தெளிவான தொடர்பு இல்லை.

சில தவெக ஆதரவாளர்களின் உணர்ச்சிப்பூர்வமான ஆன்லைன் எதிர்வினைகளைத் தவிர மக்கள் நேரடியாகக் கேட்கும் வகையில் எந்த பெரிய தொடர்பும் நடைபெறவில்லை. மற்ற அரசியல் கட்சிகள் தொடர்ந்து குரல் எழுப்பிக்கொண்டிருக்கின்றன. அதே நேரத்தில் சில தவெக ஆதரவாளர்கள் தெருக்களில் தேவையற்ற ஆர்ப்பாட்டங்களிலும் நாடகங்களிலும் ஈடுபட்டு கொண்டிருக்கிறார்கள். ஆனால் கட்சியின் தலைமையிலிருந்து மட்டும் எந்த தெளிவான தொடர்போ நேரடி விளக்கமோ வரவில்லை. மாற்றத்தை தொடர்ந்து பேசிய ஒரு கட்சியின் இந்த அமைதி இப்போது மிகவும் முரண்பாடாகத் தெரிகிறது.

தேர்தலுக்கு முன்பே ஒரு தூரம் இருந்தது. பெரிய சம்பவங்கள் நடந்தபோதும் விஜய் நேரடியாக வரவில்லை என்ற விமர்சனங்கள் இருந்தன. கரூரில் 41 பேர் உயிரிழந்த சம்பவம் அதில் முக்கியமான ஒன்று. குறைந்தபட்சம் நேரில் சென்று பார்க்கவோ அல்லது வெளிப்படையான ஒரு ஈடுபாட்டையாவது காட்டுவார் என்று பலர் எதிர்பார்த்தார்கள். அது கூட நடக்கவில்லை. தேர்தல் பிரச்சார காலத்திலும் விஜய் பெரும்பாலும் பொதுமக்கள் முன்னே வரவில்லை. சில தேர்ந்தெடுக்கப்பட்ட நிகழ்ச்சிகளைத் தவிர அவர் பெரிதாக வெளியில் தோன்றவே இல்லை.

இப்போது தேர்தல் முடிந்த பிறகும் அதே கேள்விதான் தொடர்ந்து இருக்கிறது.

விஜய் எங்கே?

இவ்வளவு பெரிய வெற்றியை பெற்ற ஒரு தலைவர் சாதாரணமாக உடனே மக்கள் முன் வருவார். வெற்றியை கொண்டாடுவதற்காக மட்டும் அல்ல. அடுத்து என்ன செய்யப் போகிறார்கள் என்பதைப் பற்றி பேசவும், ஒரு திசையை காட்டவும், மக்களுக்கு நம்பிக்கை கொடுக்கவும்.

ஆனால் இங்கே அமைதிதான் இருக்கிறது.

மக்களை நேரடியாக சந்தித்ததை விட ஆளுநரை விஜய் அதிக முறை சந்தித்திருக்கிறார் போலத் தோன்றுகிறது.

அப்படியெனில் அந்த 107 எம்எல்ஏக்கள் எங்கே? ஏன் கட்சியின் தலைமையிலிருந்து வலுவான பொது தொடர்பு இல்லை? ஏன் இன்னும் எல்லாமே ஒரு தூரத்தில் இருப்பது போலத் தெரிகிறது?

அவர்களுக்கு வாக்களித்த மக்களுக்கு ஒரு முறையான நன்றி கூட தெரிவிக்க முன்வரவில்லை. இந்த வெற்றியை கொடுத்த மக்களைப் பற்றி உண்மையாக அக்கறை இல்லை போலவும் அதிகாரத்தை பிடிப்பதிலும் அரசியல் நிலைப்பாட்டை உறுதிப்படுத்துவதிலும் தான் அதிக கவனம் இருக்கிறது போலவும் ஒரு உணர்வு உருவாகிறது.

அதிலும் திமுக மற்றும் அதிமுக கூட்டணி அமைந்தால் ராஜினாமா செய்வோம் என்று கூறியிருப்பது இன்னும் குழப்பமாக இருக்கிறது. அப்படியானால் அவர்களுக்கு வாக்களித்த மக்களின் முடிவு என்ன ஆகிறது? அரசியல் சமன்பாடுகள் மாறிவிட்டால் அந்த வாக்குகளின் மதிப்பும் இல்லையா? மக்கள் கேள்வி கேட்காமல் எந்த உணர்ச்சிப்பூர்வமான அரசியல் கூற்றையும் ஏற்றுக்கொள்வார்கள் என்ற எண்ணம் இருப்பது போலத் தோன்றுகிறது.

ஒரு தேர்தல் வெற்றி என்பது சமூக வலைதள போக்கு அல்ல. மக்கள் வரிசையில் நின்று நம்பிக்கையுடன் வாக்களித்திருக்கிறார்கள். அந்த வாக்குகளை தற்காலிக அரசியல் அழுத்தமாக மட்டும் பார்க்க ஆரம்பித்தால் மக்கள் மதிக்கப்படவில்லை என்ற உணர்வே உருவாகும்.

ஏனெனில் தலைமை என்பது தேர்தலில் வெல்வது மட்டும் அல்ல. குழப்பமான நேரங்களில் முன்னே வந்து நிற்பதும் தலைமைதான். மக்கள் பதில்களை எதிர்பார்க்கும் நேரத்தில் பேசுவதும் தலைமைதான்.

தேர்தலுக்கு முன் மக்கள் அவரைக் காண காத்திருந்தார்கள். தேர்தலுக்குப் பிறகும் மக்கள் இன்னும் காத்திருக்கிறார்கள்.

அதனால்தான் இப்போது ஒரு பெரிய கேள்வி எழுகிறது.

அடுத்த ஐந்து ஆண்டுகளும் இப்படித்தான் இருக்கப் போகிறதா?

Where Is Vijay?

It has been four days since the election results came out. Tamil Nadu has witnessed one of the biggest political shifts in recent years and yet there is still no proper press meet, no detailed public address and no visible interaction from the leadership that just received a massive mandate.

Apart from emotional reactions online from a section of TVK supporters there has been very little direct communication that people can actually hear from the leadership. Other political parties continue to raise their voices and remain active in public discourse. At the same time some TVK supporters are busy engaging in unnecessary public theatrics and dramatic displays on the streets. But from the party leadership itself there is still no proper clarification or direct interaction. The silence from a party that constantly spoke about change now feels deeply contradictory.

Before the election there was distance. Even during major incidents there was criticism that Vijay remained absent. The deaths of 41 people in Karur became one such moment where many expected at least a direct visit or visible engagement. That did not happen. Even throughout the campaign Vijay barely came out in public and remained largely unavailable except for a few selective appearances.

Now the elections are over and the same question still continues.

Where is Vijay?

A leader who has just received a mandate of this scale would normally come forward immediately. Not just to celebrate victory but to address concerns, speak about direction and reassure people about what comes next. Instead there is silence.

It feels like Vijay has visited the Governor more times than he has directly addressed the people after the results.

And where are the 107 MLAs. Why has there not been stronger public communication from the party leadership. Why does everything still feel distant.

They did not even come forward to properly thank the people who voted for them. There is a feeling as if the leadership does not really care about the people who gave them this mandate and is instead more focused on capturing power and securing political positioning.

What makes this even more confusing is the statement that they would resign if a DMK and ADMK alliance happens. What exactly does that mean for the people who voted for them. Does their vote suddenly lose value because political equations change. It feels as if the voters are expected to blindly accept every emotional political statement without questioning it.

A mandate is not a social media trend. People stood in queues and voted with expectations. Treating those votes like temporary political leverage only makes it seem like the people themselves are being taken for granted.

Because leadership is not just about winning elections. It is also about stepping forward when people are waiting for answers.

Before the election people waited to see him. After the election people are still waiting.

And that naturally raises a bigger concern.

Is this how the next five years are going to be?