Annapoorani not the first Tamil film to ‘offend' Hindu or Brahmin sentiments

The film explores the titular character Annapoorani’s (essayed by Nayanthara) childhood dream to become ‘India’s best chef’ and the glass ceilings she has to break along the way. In the course of achieving her dream, Annapoorani – who belongs to an orthodox Brahmin family in Srirangam in Tamil Nadu – learns to cook and eat meat and finds her motivation from her childhood friend Farhaan (played by Jai).

Citing a verse from Valmiki's Ramayana, Farhaan encourages Annapoorani to cook meat and leaves it to her to choose whether she wants to eat it or not.

Annapoorani lands in controversy

In the climax, Annapoorani also follows what Farhaan’s mother believes and offers namaz before cooking biryani. The scene is perhaps a demonstration of her commitment and love towards cooking food. Interestingly, biryani remains the most loved food in India with Swiggy reporting that the country ordered 2.5 biryanis per second in 2023.

Despite its feel-good factor, not even the promotional interviews done by Nayanthara herself (not generally known to take part in her films’ promotional activities) could hold the film up. On December 29, the film produced by Zee Studios premiered on OTT platform Netflix. And, all hell broke loose. On January 10, Maharashtra police filed FIR against eight persons involved in the film including Nayanthara for ‘hurting Hindu sentiments’ or more precisely, Brahmin sentiments. A complainant also claimed that the film promoted 'Love Jihad'.

The film was immediately removed from Netflix on request from Zee Studios. The production house also issued an apology and said it would edit the ‘offensive’ scenes.

Not the first

Finding the reaction extreme, documentary filmmaker Raja Gambeeran says that Tamil cinema is no stranger to ‘progressive films’. “We have had films like Vedham Puthithu (1987) which was critical of a dominant community. In Alaigal Oivathillai (1981) climax, the lead pair was shown as denouncing their religions. They would symbolically remove their cross and sacred thread because it comes in the way of their love. Also, there was no problem when Annapoorani was released here. There is some kind of emotion structurally built in north India that is absent in Tamil Nadu or in south India. The north Indians takes anything of this kind seriously. This is a political drama in which all opportunities are used to exploit the emotions of the people.”

Annapoorani, however, is not the first or the only film to run into controversies for ‘offending Hindu or Brahmin sentiments’.

In 1973, veteran director K Balachander’s Arangetram sparked protests from the Brahmin community for its portrayal of the heroine, a Brahmin woman, played by Prameela. The heroine is forced to take up sex work to save her impoverished family and when the family comes to know of it, they end up disowning her. The film, however, went on to become a huge hit.

In 1981, Brahmin organisations sought a ban on Sirai, a film directed by R C Sakthi. Bhagirathi, played by Lakshmi, is a Brahmin woman who is disowned by her husband after she is raped by her Christian neighbour. Bhagirathi takes refuge in her Christian neighbour’s house and sets boundaries which eventually reforms him. The film was not only critically acclaimed but was a commercial success too.

Cult classic

In 1977, director John Abraham’s Agragaarathil Kazhuthai was again sought to be banned by Brahmin organisations for ‘hurting their sentiments’. The film was about a Brahmin man bringing a donkey into an agraharam (Brahmin neighbourhood) and the chaos that ensues. In 1989, Doordarshan had to drop its plan of telecasting the movie due to opposition.

The film remains a cult classic.

Vedham Puthithu again sparked protests from the Brahmins for its portrayal of the community but went on to become a hit. As Raja Gambeeran points out the controversies ‘were not as huge as they were today and didn't have much impact.”

Censor Board's duty

Film historian and writer Theodore Baskaran says that Agragaarathil Kazhuthai was dropped from being telecast more than once on television due to the opposition.

“As far as I am concerned, we have a Censor board which does its duty. Once the board clears a film, it is unfair and unconstitutional to raise issues about it,” pointed out Baskaran. While pointing out that boundaries are also being extended on the one hand – there are films like Kaadhal-the Core which is a sensitive portrayal of the LGBTQ issues – Baskaran says there is usually a communal angle to controversies around films.

Raja Gambeeran thinks it's deliberate. “Nayanthara is being targeted only because she is a Christian. Such attacks have ulterior motives. We live in an era where world films have arrived at our drawing rooms. Demanding a ban or removing a scene today is nothing but a joke. Even if a scene is removed from the film, it will be edited and made viral on social media. So, what do these organisations actually seek to achieve?” he asks.

Danger of extra-constitutional censorship

The extra-constitutional censorship has its own dangers, says Baskaran. “If there is such extra-constitutional censorship, filmmakers will begin what is known as anticipatory censorship. They will try to avoid controversial issues, anything that will give them trouble and we will end up with mindless entertainment. This is what happened during the World War II and that censorship lasted till the 50s. Showing social concerns in movies will completely disappear. That is the danger.”

In an interview with an English newspaper, before the controversy broke out, director Nilesh Krishna said the film ‘was delivering a message of inclusivity’ and expressed confidence that his film ‘wouldn’t hurt any sentiments’ since he had done ‘necessary work to ensure that he got the representations right.’

But in India today, such things remain unpredictable.