Remembering 2nd Lt Maalathy

by Thusiyan
Oct 10, 2018

Today marks thirty-one years since the death of 2nd Lt. Maalathy, the first female fighter of the Liberation Tigers of Tamil Eelam (LTTE) to lose her life in the Tamil armed struggle.

Across the world the day is being commemorated as Tamil Women’s Day, to commemorate women’s involvement in the fight for Tamil rights.

The now destroyed tomb of Maalathy, at Koppay in Jaffna.

She was killed at the age of 20, on the 10th of October 1987, during a confrontation with the Indian Peace Keeping Forces (IPKF) in Jaffna.

The following account is told by a cadre that was by her side.

"We were in our bunkers firing at the (Indian) army. Hundreds of Indian troops had jumped out of their vehicles and were firing as they moved towards us. Mortar shells were exploding everywhere. We knew the army was advancing quickly. Maalathy was shot in both legs. She couldn't move and she was bleeding profusely. Realising that she was mortally wounded, she swallowed cyanide. A decision had been made to withdraw because we were heavily out-numbered. Myself and another girl Viji went over to carry Maalathy. Maalathy refused to come with us. She begged us to leave her and asked us to withdraw. Nevertheless, we lifted Maalathy and carried her and when we arrived at a safe place she was dead." (Women Fighters of Liberation Tigers, Adele Anne Balasingham, 1993)

seeds of liberation: new roots will surely grow

LTTE poster marking 6th anniversary of Malathy's death

Marking her death in 2003, the LTTE released a statement saying, 

“Liberation does not mean just freedom from foreign domination and tyranny, but also freedom from religious and gender discrimination and oppression of women.”

hands will extend anew

LTTE poster on the 7th anniversary of Malathy's death

Her namesake, the Malathy Brigade was one of the two brigades of the LTTE's women's wing.

A memorial statue was built commemorating Maalathy in 2004 and was later destroyed by Sri Lankan military forces upon taking over Killinochi.

Her death was commemorated widely amongst the Tamil community in the North-East and was marked as women's uprising day in the de-facto LTTE state.

A monument constructed in memory of Maalathy in Kilinochchi. It has since been destroyed by Sri Lankan security forces.

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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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