Pariyerum Perumal is a hard-hitting movie that brilliantly captures the harsh reality of caste conflicts.

From the opening credits which narrate a story only through sounds (à la Roja) to the meticulous depiction of the way of life led by Pariyan’s people, director Mari Selvaraj ensures that the audience experiences the protagonist’s journey alongside him, through thick and thin.

Kathir, who portrayed one of my favorite characters in Vikram Vedha, does a phenomenal job of showcasing Pariyan’s emotions and feelings. You cannot understate the role of Yogi Babu. His comic relief provides a welcome break from the heavy drama, but still stays within the context of the movie. While Anandhi’s Jo seemed a tiny bit cliched, the characterization of the rest of the supporting cast is very well chalked out. The aging contract killer, who performs honor killings for upper caste folks, was menacing and his storyline was neatly tied back to the main story arc.

For most of the first half, caste violence rather ominously takes backseat to a burgeoning tale of friendship between Pariyan and Jo. Once it takes center stage, the movie doesn’t shy away from showing hard truths on caste inequality. However, to the director’s credit, the movie never feels preachy. The presence of Pa. Ranjith, who is the producer of the movie, is felt across the film. There are the obligatory references to Ambedkar and other subtle nods like the use of color to represent spiritual characters (Kaala). Santosh Narayan continues to grow from strength to strength. Pariyerum Perumal is another laudable addition to the music director’s impressive CV.

When the movie ends, it leaves you with more questions than answers, but it also provides the barest glimmer of hope, both for Pariyan and humanity in general. In a movie filled with realistic depiction of society, I reckon that’s the best we can hope for. As Andy Dufresne says in Shawshank Redemption, “hope is a good thing, maybe the best of things, and no good thing ever dies”.