How commuting death sentences is in Tamil Nadu's power

by admin
Aug 28, 2011

The Chief Minister of Tamil Nadu, J. Jayalalitha, recently stated that she does not have the power to commute the death sentences on three people for their alleged roles in the assassination of former Premier Rajiv Gandhi.

Technically, it is the Governor of Tamil Nadu who has this power. But the Tamil Nadu council of ministers can so advice the Governor. 

On April 25, 2000, then Governor, Fathima Beevi, ordered the commutation to life of the death sentence given to Nalini, also in the Rajiv Gandhi case. (She rejected the mercy petitions of the other three.)

It was the advice of the Tamil Nadu government that formed the legal basis for her decision.

See the Madras High court document here. Para 3 states:

“Mrs. Nalini made an application for clemency to the Governor of Tamil Nadu and same was rejected by the Governor of Tamil Nadu. Challenging the said order, Mrs. Nalini filed a writ petition before [Madras High Court]. [On] 25.11.1999, this Court set aside the order of the Governor and remanded the matter back for fresh consideration.

“Thereafter, the Council of Ministers, Government of Tamil Nadu, advised the Governor to commute the death sentence of Mrs. Nalini into one of life imprisonment. On accepting the said advice of the Council of Ministers, the Governor of Tamil Nadu commuted the death sentence into one of life imprisonment [on] 24.04.2000. And from 25.04.2000 onwards, Mrs.Nalini was converted as a life convict and she has been continuously lodged in the Special Prison for Women at Vellore.”

According to Chief Minister Jayalalitha, "The Central government has made it clear that the state government cannot ask the Governor to consider any mercy petition after the President of India has rejected it."

The President, Smt. Pratibha Devisingh Patil, rejected the mercy pleas of the other three in early August.

On Monday, the three moved the Madras high court challenging the rejection of their clemency pleas by the President. (See report by Times of India here)

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Tamil asylum seekers in Australia mark 100 days of continuous protests for permanent visas

Over 200 refugees and supporters marked a significant milestone by marching 10 kilometers from Australian Prime Minister Anthony Albanese’s office to the Immigration Minister’s office this week, commemorating 100 days of continuous protest.

This demonstration, which culminated in a rally and speeches in Punchbowl, highlighted the plight of refugees denied permanent visas for over 12 years. Speakers at the event shed light on the profound impact of the current system, including barriers to higher education, employment, and access to essential services.

The protest has now entered its 100th day, with Tamil asylum seekers and their supporters continuing their relentless demand for permanent protection. For 38 days, they camped outside Australia’s Minister for Home Affairs, Tony Burke’s office in Sydney, calling on the government to end the visa limbo that has left many without basic rights and stability. Tamil asylum seekers have been in Australia for over a decade, living on short-term visas that must be renewed regularly. Without permanent residency, they are excluded from Medicare—Australia’s universal health insurance scheme—and are denied the right to work, study, travel, or access essential services. Many are also required to report to visa offices weekly.

The crisis is compounded by the controversial 'Fast Track' system introduced in 2014 by the Abbott government. According to the Asylum Seeker Resource Centre, this system has resulted in the rejection of around 8,500 asylum seekers' cases. It specifically targets individuals who sought asylum by sea and arrived in Australia between August 13, 2012, and December 31, 2013. Tamil asylum seekers, stuck in visa limbo for years, have launched protests nationwide, with 24-hour encampments in Melbourne, Perth, and Brisbane.

Amaran - Problematic propaganda

amaran

The genre of war epic makes its grand re-entry to Tamil cinema with director Rajkumar Periasamy’s sophomore feature film, ‘Amaran.’ As is often the case with this genre, one cannot help but feel the events of the ‘true story’ onscreen have been heavily modified for easy consumption.

 

 

 

The patriotic military films of Tamil cinema had taken a back seat for a while. The subject matter is now seldom a prominent theme of a film, instead lurking in the shadows peeking through such as via the heroes in the works of Nelson Dilipkumar. The genre of war epic makes its grand re-entry to Tamil cinema with director Rajkumar Periasamy’s sophomore feature film, ‘Amaran.’ As is often the case with this genre, one cannot help but feel the events of the ‘true story’ onscreen have been heavily modified for easy consumption.

The film follows the tale of Major Mukund Varadarajan (Sivakarthikeyan) and his partner Indhu Rebecca Varghese (Sai Pallavi), who meet at college and soon become lovers. Indhu grapples with her lover’s life ambition of becoming a soldier for the Indian army, admiring his courage and more than willing to become his doting wife at home. We then watch as Mukund is stationed in Kashmir and follow along with his various missions in the volatile area. The film’s depiction of the Indian army is one solely made up of heroes rescuing civilians and looking out for the public’s interests. It is not necessary to delve too much into why this is an oversimplified and problematic portrayal.

The central performances by Sivakarthikeyan and Sai Pallavi carry the almost three hour film adequately. Despite moments where Sivakarthikeyan lacks the intensity to land highly emotional scenes, the pair deftly share the screen between them, with Pallavi picking up any slack. Another notable performance comes from Geetha Kailasam, a character actor who has featured in many films recently in the role of ‘the mother.’ ‘Amaran’ gives her another opportunity to showcase her own humorous brand of motherhood.

Technically, the film runs smoothly. The film is decently shot and edited. Other than a few overly melodramatic moments, the screenplay is solid, albeit a little superficial. GV Prakash Kumar continues his trend of matching the quality of the film with the quality of his music. The track ‘Hey Minnale’ is an earworm, but the rest of the score and soundtrack does not shine through.

Overall, ‘Amaran’ is a straightforward piece of propaganda. A shot in ‘Amaran’ depicts a soldier of the Indian army blocking a closing door with his rifle. On the other side of the door is a Kashmiri child. To appease the child, the soldier sneaks a chocolate bar through the gap in the doorway. The reverse of this tactic is what director Rajkumar Periasamy employs to hook his audience in: the sweetness of the Penelope-Odysseus relationship between Mukund and Indhu hides the intrusion of the weapon of jingoist ideology. 

Krishna's rating: 2.5 stars

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Official trailer for film below.

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