Once Upon A Time In Madras – A Feminist Perspective with a Revolving Revolver
Synopsis
Director Prasadh Murugan’s Once Upon A Time In Madras takes a bold narrative approach, weaving together four distinct stories, each intricately connected by a single revolver. The film explores complex themes such as gender discrimination, caste issues, familial conflicts, and societal prejudice. The catalyst for all these events is a retired army officer’s attempt to discard his revolver after a tragic accident involving a young boy. This decision sets the stage for a sequence of interconnected tales, each carrying a poignant message about societal ills and human resilience.
Plot Analysis
The story kicks off with a retired army officer living near a slum. A young boy’s innocent attempt to steal mangoes from his compound results in a tragic shooting. The officer, in an effort to escape justice, disposes of his revolver in the Koovam River. This revolver becomes the common thread linking four stories that explore different facets of oppression faced by women and marginalized communities.
- A Transgender Child’s Mother’s Struggle
The revolver first finds its way into the hands of a sanitation worker, played by Abhirami, who is battling societal prejudice to educate her transgender child. This segment highlights the harsh realities faced by the third gender and their families, underlining themes of acceptance and determination. - Caste Prejudice in Love
The second story revolves around a couple’s struggle to marry against the casteist views of the bride’s father. The revolver becomes a symbol of rebellion and justice, as the couple navigates through the consequences of their defiance. - A Wife’s Discovery
The third narrative focuses on a pregnant woman (played by Anjali Nair) who learns that her husband is gay. This story tackles themes of betrayal, acceptance, and self-worth, shedding light on the stigmas around homosexuality in traditional marriages. - A Gangster’s Redemption
In the final story, Bharath delivers a compelling performance as a gangster desperate to save his critically ill wife. The revolver here represents his journey of love, sacrifice, and redemption.
Themes and Execution
Prasadh Murugan unflinchingly presents the women and marginalized characters in his stories as victims, while portraying men largely as antagonists. The film boldly critiques patriarchy, casteism, and homophobia, though it leans heavily on stereotypes. The dialogue “All the men are like this, aren’t they?” epitomizes the film’s unabashed feminist stance, which might feel one-dimensional to some audiences.
While the narratives are emotionally charged and inspired by real-life incidents, the overt stereotyping of men as oppressors could alienate certain viewers. However, the film’s intent to amplify women’s voices and shed light on social issues is clear and commendable.
Performances
The film boasts strong performances from its ensemble cast:
Bharath as the gangster stands out with his raw and emotional portrayal.
Anjali Nair delivers a nuanced performance as the pregnant wife grappling with her husband’s sexuality.
Abhirami effectively conveys the resilience of a mother fighting for her transgender child’s rights.
Even the cameo by Lyricist Jegan leaves a lasting impact.
Technical Aspects
The cinematography captures the essence of Chennai’s urban chaos, while the music complements the intense emotional undertones. The screenplay, though occasionally predictable, keeps the audience engaged with its sharp transitions between the four stories.
Verdict
“A powerful yet polarizing anthology that fearlessly tackles societal issues but risks oversimplifying its narrative.”
Once Upon A Time In Madras is a film for those who appreciate strong feminist themes and socially relevant narratives. While its one-sided portrayal of men may not sit well with everyone, it offers a thought-provoking cinematic experience.
Friday Film Factory தயாரிப்பில் Once Upon A Time In Madras..
நடிகர்கள்
பரத் – ராஜா
அபிராமி – சாவித்திரி
தலைவாசல் விஜய் – நாதன்
ராஜாஜி – அருள் ஜோதி
கனிகா – கெளசி
ஷான் – கதிர்
கல்கி – இஸ்மாயில்
பவித்ரா லக்ஷ்மி – அனிதா
அஞ்சலி நாயர் – மதி
PGS – மூர்த்தி
அரோல் டி சங்கர் – சுப்ரமணி
தொழில்நுட்ப கலைஞர்கள்
எழுத்து & இயக்கம் – பிரசாத் முருகன்
தயாரிப்பு – Friday Film Factory
கேப்டன் M.P. ஆனந்த்
இணை தயாரிப்பு – Dream House, ஹாரூன்
PGS Productions, P. G. சரவணன்
ஒளிப்பதிவு – K.S. காளிதாஸ் & கண்ணா.R
இசை – ஜோஸ் பிராங்க்ளின்
படத்தொகுப்பு – ஷான் லோகேஷ்
கலை இயக்குநர் – V. K. நடராஜன்
வசனம் & பாடல்கள் – M. ஜெகன் கவிராஜ்
சண்டை பயிற்சி – சுகன்
நடனம் – ஷாம்
மக்கள் தொடர்பு – K.S.K செல்வகுமார், மணிமதன்
