Parasakthi Review: Sivakarthikeyan’s Period Drama Sparks Hindi Imposition Debate

Parasakthi marks a politically charged return to a landmark title in Tamil cinema, with Sivakarthikeyan leading a period drama that revisits the historic resistance against Hindi imposition. Directed by Sudha Kongara, the film blends emotional storytelling with ideological conflict, positioning itself as a socially relevant Pongal release despite noticeable narrative shortcomings.

Set across two timelines — 1959 and 1965 — Parasakthi follows Chezhiyan, a principled student leader whose revolutionary zeal is tempered by personal loss. His younger brother Chinnadorai later reignites the movement when Hindi is imposed nationwide, triggering student-led protests that mirror real historical uprisings in Tamil Nadu. The film carefully establishes that the resistance is not against Hindi as a language, but against its enforced dominance over regional identities.

One of the film’s strongest assets is its dialogue, which draws heavily from Dravidian political philosophy. Lines emphasising the distinction between unity and uniformity resonate deeply, particularly for audiences familiar with Tamil Nadu’s political history. The screenplay also includes clear symbolic parallels to leaders like C N Annadurai and M Karunanidhi, lending ideological depth to its characters.

Sivakarthikeyan delivers one of his most emotionally restrained performances, balancing anger, empathy and moral clarity. Atharvaa convincingly portrays the impulsive younger brother, though the film leaves his ideological evolution underexplored. Sreeleela plays a Telugu-speaking ally whose character reinforces the film’s broader message that linguistic resistance transcends state boundaries.

However, Parasakthi is not without flaws. Abrupt transitions and uneven pacing dilute the emotional impact of several key moments. The romantic subplot adds little to the narrative momentum, and Ravi Mohan’s antagonist lacks the layered menace needed to elevate the conflict.

Technically, the film excels. G V Prakash Kumar’s score amplifies the protest sequences, while cinematography effectively recreates the socio-political atmosphere of the 1960s. Despite its executional inconsistencies, Parasakthi remains a powerful reminder that debates around language, identity and cultural autonomy are far from settled.