Spoiler Alert: If you haven't watched Kottukkaali yet, I highly recommend watching it before reading this blog. The following discussion dives deep into the film's scenes and themes, which might spoil your viewing experience.
Kottukkaali, which translates to "Adamant Girl," encapsulates the essence of the film. It's a story that can be viewed from two contrasting perspectives: a chauvinistic one or a feminist one. At its core, it’s a narrative about the oppressor and the oppressed. The film takes us on a journey, quite literally, an auto ride, that slowly unravels its message, which becomes clear only after the intermission.
The Rooster and Meena:
One of the most powerful scenes in the film occurs early on when Meena, played by Anna Ben, is sitting in her house, seemingly waiting to be taken to a priest. At this point, the plot details are still hazy, but there’s a important moment where Meena observes a rooster tied to a stone. The rooster and Meena share a silent exchange, almost as if they are conversing without words. Meena sees herself in the rooster, both are trapped, wanting to break free but held back by the shackles imposed by others. The rooster’s struggle to escape, only to be tied back again, mirrors Meena’s own situation. This scene, with minimal dialogue, speaks volumes about the central character’s plight and sets the tone for the rest of the film.
Symbolism in Simple Acts:
As Meena prepares to leave, her hair is tied up by her family, symbolizing the control they exert over her. This simple act of tying her hair reflects how her freedom is restrained, how her individuality is suppressed by the very people who should support her.
Throughout the film, it’s evident that women have little voice, not just Meena, but also Pandi’s sisters. These women are portrayed with flaws, but whenever they attempt to express their opinions, they are silenced by the men around them. They are constantly told to stay quiet or get into the auto, highlighting the deep-seated chauvinism that dominates their lives.
The Trigger:
One of the most intense scenes occurs when Meena hums the song "Othayadi Paathayile" under her breath, which triggers Pandi’s fury. In a fit of rage, Pandi, played by Soori, unleashes violence on everyone in his path, including Meena, her mother, and even his own sisters who try to protect her. The brutality of the scene, where these women are beaten senselessly, underscores the extremity of male rage and the helplessness of the women. After the assault, Meena glances at the rooster and smiles, a tragic, ironic smile that reflects her understanding of their shared fate.
A Reflection of Meena’s Life:
As the journey continues, the rooster, which they carry with them in the auto, lies almost lifeless due to the oppressive environment. People try to revive it by spraying water, but its limp state mirrors Meena’s own lifelessness, her spirit crushed under the weight of her family's expectations. Just like the rooster, Meena is caged, her freedom stifled by those around her.
In another scene, Pandi’s father tells Meena’s father about the debts incurred for Meena’s schooling and college education, all paid by Pandi. This conversation reveals how Meena has been groomed like a scapegoat from childhood, her education not as a means to empower her, but as a tool to trap her within the confines of her family’s control.
A Bull and a Girl:
Even after all this chauvinism, there’s a scene where the auto is blocked by a bull, and none of the men have the courage to chase it away. Their bravado crumbles, revealing their inherent weakness. When Pandi’s father and his male friends attempt to shoo the bull, they retreat in fear. It’s a girl, the bull’s owner, who calmly takes control, effortlessly leading the bull away. This scene contrasts the supposed strength of the men with the quiet, real power of the woman, illustrating the message that strength isn’t about physical dominance but mental resilience.
The Real Story:
It’s only at the intermission that we fully grasp the situation: Meena is in love with someone, a reality that shatters Pandi and his family’s plans to marry her to him. Unable to accept this, they brand her as possessed by a devil and decide to take her to a priest in an auto to "cure" her and make her forget her love. This revelation is shocking, not because it’s complex, but because it reflects a sad truth that still exists in society today. The film beautifully handles this delicate issue through its nuanced scenes.
Rumors:
In a passing conversation between two men, one suggests that Meena’s attachment to her lover isn’t just emotional but physical, that she must have slept with him. This offhand remark shows how quickly and easily a small issue can enlarge into a damaging rumor, highlighting the destructive nature of gossip within close-knit communities.
Periods and the Taboo:
There’s a subtle yet significant scene where one of Pandi’s sisters gets her period and needs to change her pad. Unable to directly tell the men, she hints to her sister, who then stops the auto. When questioned by the men, she vaguely says they can’t share everything with them. This scene underscores the ongoing taboo surrounding menstruation and the discomfort women feel in discussing it openly, even with family. Later, she’s not allowed inside the temple and is told to wait outside, a reminder of how menstruation is still treated as a form of untouchability. This moment provokes us to question who made these rules and why periods are seen as something impure.
The Desire for Freedom:
In a haunting scene, Meena sees an illusion of herself walking freely on a dam. As the figure turns back, it reveals Meena’s face, an embodiment of her yearning to break free from her oppressive circumstances. This dreamlike moment captures her desire to escape the restrictions imposed on her by her family and society.
The Open-Ended Conclusion
As the film nears its climax, Pandi and his family reach the priest’s place, where they witness him "treating" another girl by touching her inappropriately. This disturbs Pandi, who is now caught in a dilemma—who is more dangerous, the man Meena loves or the priest who is supposed to "cure" her? When it’s Meena’s turn, Pandi hesitates and doesn’t walk towards the priest, leaving the story unresolved.
This open-ended conclusion is Vinoth Raj’s way of inviting us to think, to question, and to reflect on what we would do in Pandi’s situation. It forces us to confront uncomfortable truths: Is it a sin to love someone? Why is it treated as though she is possessed by a devil? These questions stays long after the film ends, challenging our preconceived notions and societal norms.
Kottukkaali is more than just a film, it’s a subtle yet powerful commentary on the harsh realities many women face. The absence of a clear resolution may frustrate some viewers, particularly those who prefer definite endings. Perhaps those criticizing the film are struggling with their own male ego, unable to accept an open narrative that doesn’t provide easy answers. It’s disheartening to think that some might expect a conclusion involving honor killing, which only underscores the issues this film aims to address.
Kottukkaali deserves much more appreciation than it has received. It’s a film that challenges us to look beyond the surface. It’s a subtle yet impactful work of art that leaves us with more questions than answers, urging us to continue the conversation long after the credits roll. These are just a few scenes from the movie there is so much more to unpack. I leave the rest to you to explore and interpret.
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