The year 2026 has kicked off with a cinematic thunderclap. After months of anticipation, censor board tussles, and palpable hype, director Sudha Kongara’s magnum opus, Parasakthi, has finally hit the screens. Coming off the massive success of Soorarai Pottru, Kongara returns with a film that is grander in scale, heavier in political ideology, and deeply rooted in the cultural consciousness of Tamil Nadu. Starring Sivakarthikeyan in a role that demands absolute surrender to the craft, Parasakthi is an ambitious, visually arresting, yet occasionally stumbling journey into the fires of the 1960s anti-Hindi imposition agitation.
While the film borrows its title from the legendary 1952 classic that launched Sivaji Ganesan, this 2026 iteration carves its own path. It is not a remake but a spiritual successor in its fierce advocacy for self-respect and linguistic identity. Despite a runtime that tests patience (162 minutes) and a screenplay that sometimes dips into melodrama, Parasakthi stands tall as a “superb and excellent” attempt to document a pivotal chapter in Indian history.
The Plot: A Tale of Two Brothers and a Revolution
The narrative transports us to the volatile era of the Madras State (now Tamil Nadu) in the late 1950s and 60s. The central conflict arises from the Union Government’s decision to declare Hindi as the sole official language, a move perceived as an existential threat to the non-Hindi speaking states.
At the heart of the resistance is Chezhiyan (Sivakarthikeyan), a fiery student leader of the Purananooru Padai (Purananooru Squad). In a breathtaking opening sequence set in 1959, Chezhiyan leads a daring attack on a train—a scene that establishes the stakes immediately. However, a personal tragedy during this protest forces Chezhiyan to retreat into a shell of silence, opting for a quiet life as a railway fireman who shovels coal, metaphorically burying his own fire.
Years later, the specter of imposition returns. This time, it is Chezhiyan’s younger brother, Chinnadurai (played with spirited energy by Atharvaa), who takes up the mantle. Unaware of his brother’s revolutionary past, Chinna dives headfirst into the student movement.
Looming over them is Thirunaadan alias Thiru (Ravi Mohan), a ruthless Intelligence Bureau officer. Thiru is a complex antagonist—a Tamilian by birth who harbors a deep-seated self-hatred for his roots due to childhood trauma involving his father. He views the movement not as a fight for rights, but as a nuisance to be crushed. As the protests escalate, the brothers’ paths converge, forcing Chezhiyan to reignite the dormant volcano within him.
Performance Analysis: Sivakarthikeyan’s Transformation
The soul of Parasakthi is undeniably Sivakarthikeyan. Shedding his usual image of the boy-next-door entertainer, he delivers a performance of remarkable maturity and restrained aggression. As Chezhiyan, he captures the duality of a man torn between the safety of his family and the call of his people.
“There is a quiet intensity in his eyes during the second half that speaks louder than the slogans he shouts. When he finally explodes in the climax, it feels earned, not just enacted.”
Ravi Mohan is a revelation as the cold-blooded Thiru. It is rare to see a mainstream hero step into a role so devoid of redemption. He plays Thiru not as a loud villain, but as a terrifyingly efficient instrument of the state. His backstory, though briefly touched upon, adds a layer of psychological depth to his hatred, making his clashes with Chezhiyan intellectually and physically stimulating.
Atharvaa proves yet again that he is a reliable performer. As the impulsive Chinnadurai, he represents the raw, unpolished anger of the youth. Sreeleela, making her Tamil debut as Ratnamala, gets a role that is surprisingly fleshed out. She is not merely the hero’s love interest but a participant in the struggle, a Telugu-speaking girl who stands with the Tamils—a creative choice by Kongara to emphasize that the fight is against imposition, not the language or its people.
Direction and Screenplay: Sudha Kongara’s Vision
Sudha Kongara confirms her status as one of the most formidable voices in Indian cinema. Her research is evident in the production design—from the font on the movie posters in the background to the specific layout of the 1960s post offices.
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The Highs: The interval block is pure cinematic adrenaline. The way she stages the riots, balancing the chaos with intimate human moments, is masterclass direction. The dialogue, particularly the line “We are not against Hindi; we are against the imposition of it,” is repeated effectively to ensure the film’s political stance is not inextricably misinterpreted.
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The Lows: The pacing is the film’s Achilles’ heel. The romantic track between Chezhiyan and Ratnamala, while cute, feels like a speedbreaker in a high-stakes political thriller. The songs, composed by G.V. Prakash Kumar, are melodious but often misplaced, dragging the narrative when it should be sprinting. The screenplay, co-written with Arjun Nadesan, occasionally struggles to bridge the gap between docu-drama and commercial entertainer.
Technical Brilliance
The film is a technical marvel. Ravi K. Chandran’s cinematography is nothing short of “excellent.” He bathes the 1960s in sepia tones and harsh shadows, using fire as a recurring visual motif. Whether it is a burning train or the burning rage in Chezhiyan’s eyes, the visuals are searing. G.V. Prakash’s background score is the heartbeat of the rebellion. The “Senai Kootam” track induces goosebumps, elevating the protest sequences to an operatic level. However, the editing by Sathish Suriya leaves something to be desired; a tighter cut, shaving off 15-20 minutes, would have made this a masterpiece.
The Verdict
Parasakthi is not a perfect film, but it is an important one. It dares to ask uncomfortable questions about identity, federalism, and the rights of a linguistic minority. It is a film that wears its politics on its sleeve, bold and unapologetic.
While the sluggish first half and the generic romantic subplots prevent it from achieving the “classic” status of Soorarai Pottru, it makes up for it with its emotional payload and the sheer conviction of its leading man. Sivakarthikeyan has arrived as a serious dramatic actor, and Sudha Kongara has once again delivered a film that provokes thought long after the credits roll.
For those who love cinema that merges history with mass appeal, Parasakthi is a must-watch. It is a saga that reminds us: Language is not just a tool for communication; it is the soul of a culture.
CINEMA SPICE RATING: ★★★½ (3.5/5)