Vadivelu Belongs to other castes in “Devar magan”, A recent viral video has sparked discussions about the caste representation of actor Vadivelu’s character in the film “Devar Magan.” While the video claimed that Vadivelu’s character, Isakki, belonged to a different caste, further examination reveals that the film does not explicitly depict Isakki as belonging to a distinct community. This article explores the controversy surrounding the viral video, clarifies the representation of caste in “Devar Magan,” and highlights the director’s perspective on the connection between Vadivelu’s character and his subsequent film, “Maamannan.”

“Devar Magan” tells a compelling story of how a village and a family are torn apart by internal disputes within the same community. The film delves into the intricacies of caste dynamics, showcasing the impact of these conflicts on the lives of the characters. It explores the complexities of relationships, power struggles, and societal divisions within a specific community setting, shedding light on the repercussions of such internal conflicts.

also read: Mari Selvaraj’s Speech About Thevar Magan Caused Controversy!!

Vadivelu’s Role in “Devar Magan” and “Maamannan”, Director Mari Selvaraj revealed that Vadivelu’s character, Esakki, in “Devar Magan” served as an inspiration for his subsequent film, “Maamannan.” In “Devar Magan,” Vadivelu’s portrayal of Esakki represents a transformation within the storyline, depicting his journey from an ordinary individual to a significant figure in the community. Selvaraj’s film “Maamannan” further builds upon this transformation, centering the narrative on the concept of Esakki evolving into a maamannan, or the king of kings.

Contrary to the claims made in the viral video, it is important to note that “Devar Magan” does not explicitly depict Vadivelu’s character as belonging to a different caste. The film primarily focuses on the internal conflicts within the same community, rather than highlighting caste divisions. The narrative emphasizes the broader theme of familial and societal clashes, exploring the consequences of these disputes on the community as a whole.

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Director Mari Selvaraj clarified that he watched “Devar Magan” as well as other influential films, such as “Pariyerum Perumal” and “Karnan,” before embarking on his own directorial ventures. Selvaraj drew inspiration from “Devar Magan” and Vadivelu’s character to shape the narrative of “Maamannan” and create a story that resonated with his own vision. While Vadivelu’s role in “Devar Magan” influenced Selvaraj, it is important to recognize that the depiction of caste in his films is independent and unique to his storytelling.

The audio launch event of the highly anticipated film “Maamannan” took an unexpected turn when director Mari Selvaraj delivered a controversial speech about the iconic Tamil movie “Thevar Magan” in the presence of Kamal Haasan. Mari Selvaraj, known for his thought-provoking films like “Pariyerum Perumal” and “Karnan,” stirred up debates and discussions with his remarks, which quickly spread across social media platforms. This article delves into the details of Mari Selvaraj’s speech, the response it garnered, and the impact it might have on the upcoming release of “Maamannan.”

watch the video below:

தேவர்மகன் படத்தில் #இசக்கி எந்த இடத்திலும் வேற்று சமூகமாக காட்டப்படவில்லை!

ஒரே சமூகத்திற்குள், ஒரே குடும்பத்திற்குள் நடக்கும் சண்டையில் ஊர் மக்கள் எவ்வாறு பாதிக்கப்படுகிறார்கள் என்பதே கதை!#TamilsPrideThevarMagan #Maamannan pic.twitter.com/FYw89SHO1f

— கமல் தாசன் (@ikamaldhasan) June 20, 2023

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The viral video claiming that Vadivelu’s character in “Devar Magan” belonged to a different caste has stirred discussion on caste representation in the film. However, a closer examination reveals that the movie primarily focuses on internal conflicts within the same community, rather than highlighting distinct castes. Director Mari Selvaraj’s clarification sheds light on the inspiration he drew from Vadivelu’s character, shaping his subsequent film, “Maamannan.” It is essential to view these films in the context of their individual narratives and themes.