Decolonizing the screen: The Postcolonial
resistance in Thangalaan (2024)
Leo
Lawrance James
Department
of English
Dayananda
Sagar College of Arts, Science & Commerce
Bangalore, Karnataka,
India
Abstract: The 2024 Tamil film Thangalaan, translated as The Son of Gold and directed by
Pa. Ranjith, emerges as a compelling cinematic exploration of postcolonial
themes, intricately weaving together issues of identity, resistance, and the
enduring legacy of colonialism in India. Set in 1850 in the village of Veppur,
North Arcot, the film provides a poignant portrayal of marginalized
communities, particularly Dalits and tribal populations, who have historically
endured exploitation under both colonial and postcolonial systems. This paper
undertakes a postcolonial reading of Thangalaan, meticulously examining its narrative structure,
character dynamics, and visual symbolism to reveal its incisive critique of
colonial exploitation, caste-based oppression, and the persistent struggles for
social justice. By engaging with the theoretical insights of postcolonial
scholars such as Frantz Fanon, Gayatri Spivak, and Homi Bhabha, the paper
contends that Thangalaan functions
as a counter-narrative to dominant historical discourses, reclaiming the voices
of the subaltern and interrogating the entrenched power structures that
perpetuate systemic inequality. Through its artistic and political vision, the
film not only critiques historical injustices but also envisions a
transformative path toward equity and liberation.
Keywords: Postcolonialism, Dalit resistance,
Subaltern, Colonialism, Caste, Thangalaan
Introduction
Postcolonial themes in cinema have emerged as a significant medium for
interrogating the legacies of colonialism and its enduring impact on societies.
In film, postcolonial resistance outlines the way filmmakers from diasporic
groups and formerly colonized countries use film as a tool to question colonial
narratives, recover cultural identities, and examine the lingering effects of
colonialism. This type of resistance frequently entails challenging prevailing
Western viewpoints, elevating underrepresented voices, and investigating issues
of emancipation, power, and identity. The politics of representation are
closely linked to postcolonial film because it aims to challenge stereotypes
and present other stories that capture the complexity of postcolonial
realities.
Thangalaan exemplifies how cinema can serve as a medium to portray
resistance and reclamation for the marginalized communities. Thangalaan
tells the story of Thangalaan who is also a village chief and landowner, who
resides with his wife Gengamma and their children. For generations Thangalaan’s
great grandfathers are skilled in extracting Gold from the Ponnar river sand.
Knowing this expertise, a British Officer named Lord Clement arrives in Veppur
seeking Gold. Thangalaan and his villagers along with the British officer Lord
Clement set out a journey in search of Gold. In the course of their journey,
they overcome various challenges like Black Panther, river, snakes and
sandstorm. Thangalaan, exemplify how cinema can serve as a site of
resistance and reclamation for marginalized communities. Set in the Kolar Gold
Fields (KGF), a region historically exploited for its resources under British
colonial rule, Thangalaan tells the story of oppressed
laborers, primarily Dalits and tribal groups, who resist systemic exploitation
and fight for their dignity. This paper employs a postcolonial framework to
analyse Thangalaan, focusing on its portrayal of subaltern
resistance, the intersection of caste and class, and its critique of colonial
and neo-colonial structures. By engaging with the works of postcolonial
theorists such as Frantz Fanon, Gayatri Spivak, and Homi Bhabha, this study
seeks to uncover the film’s contribution to postcolonial discourse and its
relevance to contemporary struggles for social justice.
Theoretical Framework
Postcolonial theory provides a critical lens for analysing the power
dynamics, cultural hierarchies, and resistance strategies depicted in Thangalaan.
Frantz Fanon’s concept of colonial violence and the psychological impact of
oppression is particularly relevant to understanding the film’s portrayal of
labour exploitation and resistance (Fanon 41). Gayatri Spivak’s seminal
question, “Can the subaltern speak?” underscores the film’s attempt to amplify
the voices of marginalized communities, particularly Dalits and tribal groups,
who have been historically silenced (Spivak 28). Homi Bhabha’s notion of
hybridity and the “third space” offers insights into the film’s exploration of
identity and cultural negotiation in a postcolonial context (Bhabha 37). These
theoretical perspectives inform the analysis of Thangalaan as
a text that challenges dominant narratives and reclaims the agency of the
subaltern.
Postcolonial Resistance in Thangalaan
Postcolonial resistance is a central theme in Thangalaan,
manifesting in both individual and collective acts of defiance. Postcolonial
resistance refers to the myriad ways in which colonized peoples and their
descendants challenge, subvert, and dismantle the enduring legacies of colonial
domination. Emerging as a response to the exploitation, cultural erasure, and
systemic oppression imposed by colonial powers, this resistance manifests in
political, cultural, and ideological forms. It seeks to reclaim indigenous
identities, histories, and epistemologies that were marginalized or suppressed
during colonial rule. In literature, art, and cinema, postcolonial resistance
often serves as a powerful tool for reimagining narratives, celebrating
cultural heritage, and fostering solidarity among marginalized groups. By
interrogating and challenging the power dynamics of colonialism, postcolonial
resistance paves the way for a more equitable and inclusive future. The film’s
portrayal of resistance is multifaceted, encompassing physical, cultural, and
ideological dimensions. The resistance in this film can be identified in three
different dimensions. Firstly, the physical resistance, where the film’s action
sequences, particularly the battles between the tribal community and colonial
forces, symbolize the physical struggle against oppression. These scenes are
not merely spectacle but serve as a visual representation of the community’s
determination to protect their land and way of life. The protagonist
Thangalaan’s leadership in these battles underscores the importance of
collective action in the fight for liberation. Secondly, the role of culture in
resistance. The film’s depiction of tribal rituals, music, and dance serves as
a powerful assertion of cultural identity. By preserving and celebrating their
traditions, the community resists the cultural erasure imposed by colonial
rule. This aligns with Spivak’s argument that cultural production is a form of
resistance, enabling marginalized groups to reclaim their voice and agency
(Spivak 28).And thirdly the ideological resistance where film critiques the
ideological foundations of colonialism, particularly the notion of racial and
cultural superiority. Through its portrayal of the colonizers as exploitative
and corrupt, Thangalaan challenges the myth of the "civilizing
mission" and exposes the violence inherent in colonial rule. The film’s
emphasis on the moral integrity of the tribal community further subverts
colonial ideologies, asserting the dignity and humanity of the oppressed.
Historical Context: Colonial Exploitation in the Kolar Gold Fields
The Kolar Gold Fields (KGF) serve as a microcosm of colonial
exploitation in India. Under British Raj rule, the KGF became a site of intense
resource extraction, with Indian laborers, particularly from Dalit and tribal
communities, subjected to brutal working conditions. The film Thangalaan situates
its narrative within this historical context, highlighting the dehumanizing
effects of colonial capitalism. The protagonist, a Dalit labourer, embodies the
struggles of his community, navigating the dual oppressions of caste and
colonial exploitation from British Officer Lord Clement, a representation of
the coloniser. The film’s depiction of the KGF as a site of both economic wealth
and human suffering reflects the broader contradictions of colonialism, where
resource extraction enriched colonial powers while impoverishing local
populations.
Narrative and Characterization: Subaltern Resistance
At the heart of Thangalaan is the story of subaltern
resistance. The protagonist, played by Vikram, represents the collective
struggles of Dalit laborers who resist their exploitation. His journey from a
submissive labourer to a defiant leader mirrors Fanon’s concept of the
“colonized intellectual” who awakens to the realities of oppression and
mobilizes for liberation (Fanon 102). The film’s narrative structure, which
alternates between personal and collective struggles, underscores the
interconnectedness of individual and community resistance.
The character of the tribal woman, played by Malavika Mohanan, further
complicates the narrative by introducing the intersection of gender and caste
oppression. Her resistance to both colonial and patriarchal structures aligns
with Spivak’s critique of the double marginalization of subaltern women (Spivak
120). Through these characters, Thangalaan challenges the
erasure of subaltern voices in historical narratives and asserts their agency
in the fight for justice
Visual Symbolism: Reclaiming Identity and Space
The film’s visual language is rich with symbolism that reinforces its
postcolonial themes. Firstly, the recurring imagery of the gold mines, the
Kolar Gold Fields, as both a source of wealth and a site of suffering reflects
the duality of colonial exploitation. The use of earthy tones and stark
contrasts between light and shadow evokes the harsh realities of the labourers’
lives while also highlighting their resilience.
Secondly, one of the most striking visual motifs is the depiction of the
labourers’ bodies as sites of resistance. Scars, bruises, and calloused hands
become symbols of both oppression and defiance. This aligns with Fanon’s
assertion that the colonized body is a site of struggle and resistance (Fanon
45). The film’s climax, which features a collective uprising, is visually
represented through dynamic camera movements and vibrant colours, symbolizing
the reclaiming of identity and space by the subaltern.
Thirdly, traditional attire and symbols, a symbol of cultural
reclamation. The film uses traditional attire and cultural symbols to emphasize
the labourers’ reclaiming of their identity and heritage. Characters are often
shown wearing traditional clothing or carrying symbolic objects, such as drums
or agricultural tools. Here the traditional attire symbolizes the labourers’
connection to their cultural roots and their resistance to cultural erasure;
whereas the drums and other cultural objects represent the labourers’
collective identity and their use of cultural practices as tools of resistance.
The juxtaposition of traditional symbols with colonial structures highlights
the tension between cultural preservation and colonial domination.
Intersection of Caste and Class
Thangalaan also
addresses the intersection of caste and class, a theme often overlooked in
mainstream cinema. The film critiques the complicity of upper-caste elites in
perpetuating colonial exploitation, highlighting how caste hierarchies were
reinforced under colonial rule. The protagonist’s confrontation with an
upper-caste overseer serves as a metaphor for the broader struggle against
caste oppression.
The film’s portrayal of Dalit solidarity and collective action
challenges the dominant narrative of caste as a divisive force. Instead, it
presents caste as a site of resistance and empowerment, echoing Bhabha’s
concept of hybridity as a space of negotiation and transformation (Bhabha 54).
By foregrounding the experiences of Dalit and tribal communities, Thangalaan disrupts
the hegemony of upper-caste narratives and asserts the agency of marginalized
groups.
Conclusion
Thangalaan (2024)
stands as a profound contribution to postcolonial cinema, delivering a
compelling critique of colonial exploitation, caste-based oppression, and the
enduring struggles for social justice. Through its intricate narrative, richly
developed characters, and evocative visual symbolism, the film reclaims the
voices of the subaltern and interrogates the entrenched power structures that
sustain systemic inequality. Engaging with the theoretical frameworks of
postcolonial scholars such as Frantz Fanon, Gayatri Spivak, and Homi Bhabha,
this paper has illuminated how Thangalaan functions as a
counter-narrative to hegemonic historical discourses, asserting the agency of
marginalized communities and envisioning a future rooted in justice and equity.
As both a work of artistic expression and political activism, Thangalaan
exemplifies the transformative potential of cinema to catalyse social change
and amplify the voices of those historically silenced by oppression.
Works Cited
Bhabha, Homi K. The Location of
Culture. Routledge, 1994.
Fanon, Frantz. The Wretched of the
Earth. Grove Press, 1963.
Ranjith, Pa., director. Thangalaan.
Neelam Productions, 2024.
Spivak, Gayatri Chakravorty. “Can the
Subaltern Speak?” Marxism and the Interpretation of Culture, edited
by Cary Nelson and Lawrence Grossberg, University of Illinois Press, 1988, pp.
271-313.