The statement, "Authority is not just for ruling, but for living", forms the core philosophy of Nandan, which tells the story of marginalized communities.Director Ira. Saravanan sheds light on how, despite the government implementing thousands of schemes for social justice, dominant caste members often manipulate these systems, exploiting them for their own benefit. The director tells this story in a way that hasn't been done before. At the beginning of the film, the director boldly declares, "For those who question if such things really happen, I am ready to take them by the hand and show them firsthand." This statement emphasizes the authenticity and strength of his narrative.
In the village of Vanangamudi, where for generations the dominant caste has ruled as untouchable elites, the story begins with a gathering at their temple. The scene opens with a shot of the sandals left outside by the dominant caste members attending the meeting. Their voices spread as they boast about their superiority, metaphorically highlighting their oppressive mindset as if striking with the sandals themselves. This meeting is about the upcoming local elections, where they insist on retaining the leadership position, which they have held for ages, without conceding to anyone. The purpose of the gathering is to ensure that the village head is selected unopposed once again.However, as Balaji Shaktivel’s supporters demand that he be selected unanimously, Kuttipuli Saravana Sakthi steps up to challenge him. To resolve this, both parties agree to place their names before the deity, deciding to accept whatever decision is decreed by the divine.
In the scene where the lot is drawn, Balaji Shaktivel is revealed as the chosen one by the deity. However, in the very next scene, it's made clear that it wasn’t the divine intervention but rather a scheme orchestrated by the sly Balaji Shaktivel himself. The one who dares to raise his voice against this corrupt gathering is Nandan, a young man from the oppressed community. However, after questioning Balaji Shaktivel, Nandan dies in a suspicious accident in the very next scene. When we see Sasikumar, naturally, we expect that he will play the role of Nandan, the hero of the film. But instead, Sasikumar plays a loyal servant to the dominant caste, almost like a lapdog, completely faithful to Balaji Shaktivel. Meanwhile, Nandan dies early in the film, leaving us questioning the title of the movie. How does Nandan fit as the title when the character dies so soon? That’s the brilliance of the story, which we can only fully understand by the end.
In a situation where a nomination is about to be filed, the government declares the constituency as a reserved one. This puts the dominant caste in a bind, and Balaji Sakthivel plans to seize control by placing a loyalist in power as the village head. He picks Sasikumar, who is already submissive to him, and makes him the village head. The rest of the story revolves around the consequences of this decision.
We’ve never seen Sasikumar in such a role before. In 99% of the scenes, he appears with unkempt hair, a grim face, and dirty clothes, making us wish we could drag him to get a bath and dress him in clean clothes! So far, someone who has been a brand ambassador for friendship has now, through this film, become a global ambassador for loyalty. His wife, played by Shruti Periyasamy, and his school-going son, Master Madesh, follow the same path. The villain, Balaji Sakthivel, on the other hand, stands out, appearing sharp and polished.His character is clearly identifiable through his proclamation, "Anyone from any caste can become the President of India, but in this village, we must be the President!" This statement reveals his caste identity. While standing in the house of a murdered person, he chillingly says, "One accident is enough for this family…", portraying him as a merciless figure, a deathly presence without the need for a buffalo, symbolizing Yama (the god of death).
Even the village president doesn’t have the freedom to hoist the flag, and this is all part of Balaji Sakthivel's manipulation. Scene after scene, the dialogues vividly capture what’s happening in the country today. And standing tall amidst these moments is a sense of irony. In a house where death has occurred, Balaji Sakthivel selects a bonded laborer from the oppressed community to be the next village president. When someone catches his eye, he inquires about the man and is told, "Once he drinks, he becomes a tiger." To this, Balaji Sakthivel responds, "We don’t need tigers or leopards here!" This line reflects his fear of losing control and his desire for complete dominance, rejecting anyone with the potential to disrupt his authority.
When Sasikumar points to the statue of a guardian deity and says, "This is our great ancestor!" and his son, who is carried on his shoulders, responds, "Why are you talking like Seeman, dad?" it’s a mocking jibe that rivals any bold satire. A line like, "Just because it's a lion, can you wash its rear in a golden vessel?" sends chills, though it leaves us wondering if lions even need their rears washed!Beyond such sharp humor, director Saravanan's dialogues manage to carry the weight of deeper sorrow and meaning, balancing the satire with underlying tragedy. These conversations pierce through the absurdities while also conveying the emotional struggles faced by the characters.
When Sasikumar mournfully remarks, "If we can’t even live, we’re afraid of dying too!" while lamenting the lack of a cremation ground for their community, the sorrow burns deeply within. Balaji Sakthivel embodies a roaming demon, but it’s his father, played by G.M. Kumar, who steals the show by being villainous even while lying down, surpassing expectations. In the second half, unexpectedly, P.T.O. Samuthirakani enters and earns his own round of applause with lines like, "There’s no pride in winning without competition!" His mere act of sitting commands respect, and when he stands, he elevates the scene—such is the brilliance of the character portrayal.
The son of Sasikumar finding hope in the resilient kattamanakku plant, which grows back no matter how much it is uprooted and destroyed, showcases the director’s globally resonant thinking and storytelling. Despite having so many elements worthy of praise, the film slightly lags in pacing, which pulls it back just a bit from its full potential. Though Nandan, who dies at the beginning, doesn’t carry the film forward, the cleverness of using his death as the seed for the climax is commendable. However, we can sense that his loss isn’t truly felt by his family. In particular, Sasikumar’s character should have felt the pain and void left by that death.Balaji Sakthivel’s sudden decision to torment Sasikumar’s family feels unconvincing. As his own supporters say in the film, "You’ve gone too far!"—and we, too, agree. No matter what explanation Balaji Sakthivel provides, his actions seem excessive.
Cinematographer R.V. Saravanan and composer Ghibran could have enhanced the emotional depth of the film with more attention to detail. However, despite its shortcomings, this film stands out as one of the most important political films of the season, delivering a crucial message to society.
