Garudan: A Compelling Story of Karnan from Mahabharata Making a Choice Between Duty and Righteousness

Garudan cast: Soori, Sasikumar, Samuthirakani, Unni Mukundan

Garudan director: RS Durai Senthilkumar

Garudan rating: 3 stars

Betrayal, a theme deeply woven into many legendary tales, has been a driving force in various narratives throughout history. From ancient scriptures like the Bible to modern shows like Game of Thrones, characters like Brutus, Judas, and Walder Freys have been pivotal in creating the chaos essential for a compelling story. Filmmaker Vetrimaaran has shown a keen interest in exploring this theme in his works. While his debut film Polladhavan was a commercial hit, it was Aadukalam that truly set him apart. Aadukalam tells the story of a mentor betraying his student, blending elements of rural life with a grand narrative about morals and pride.

In Garudan, written by Vetrimaaran and directed by RS Durai Senthilkumar, the film takes a path similar to Vetrimaaran’s gangster epic Vada Chennai. The character Sokkan in Garudan faces a moral dilemma akin to Anbu in Vada Chennai, where both protagonists must choose between loyalty and righteousness. In a way, both Sokkan and Anbu mirror the complexities of the character Karnan from the Mahabharata. While Garudan could have been aptly titled as a modern take on Karnan’s moral conflict, Maari Selvaraja’s film beat Durai to the punch. Ultimately, Garudan presents a compelling ‘What if’ scenario of Karnan defying Dhuryodhanan by prioritizing justice over blind loyalty.

Sokkan, much like Karnan, grew up as an orphan living among sadhus in a temple. Karuna, an heir to the once-royal family of Theni village, befriends Sokkan and persuades his grandmother, the matriarch, to allow Sokkan to live with them. Sokkan becomes a devoted servant and friend, unwaveringly loyal to Karuna.

Karuna’s wealthy friend, Aadhi, helps manage the local temple in the village. When a Chennai politician tries to seize a valuable piece of temple land in Theni, legal issues arise as the land belongs to the village temple. The politician schemes to obtain the original document held by Karuna’s grandmother, leading to a tale of deteriorating relationships, pride, and vengeance.

In Durai Senthilkumar’s films, the narrative takes precedence, portraying him more as a storyteller than just a filmmaker. To convey crucial information to the audience, a narrator, like the village inspector played by Samuthirakani, is often used. This character serves as a guide, clarifying the story’s key players. The director employs flashbacks and additional characters to streamline the narrative, prioritizing clarity over intricate filmmaking techniques.

Despite these narrative shortcuts, the film compensates with its engaging storyline and the brisk pace at which events unfold. The film features significant character deaths, swiftly addressing the aftermath without lingering on typical melodrama.