Hubbry Logo
IruvarIruvarMain
Open search
Iruvar
Community hub
Iruvar
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Iruvar
Iruvar
Iruvar
View on Wikipedia
from Wikipedia

Iruvar
Poster
Directed byMani Ratnam
Written byMani Ratnam
Dialogues by
Poem by
Produced byMani Ratnam
G. Srinivasan
StarringMohanlal
Prakash Raj
Aishwarya Rai
Revathi
Tabu
Gautami
CinematographySantosh Sivan
Edited bySuresh Urs
Music byA. R. Rahman
Production
company
Distributed byMadras Talkies
Release date
  • 14 January 1997 (1997-01-14)
Running time
158 minutes
CountryIndia
LanguageTamil

Iruvar (transl. The Duo) is a 1997 Indian Tamil-language epic political drama film co-written, produced, and directed by Mani Ratnam. The film, inspired by the lives of M. G. Ramachandran, M. Karunanidhi and J. Jayalalithaa, is set against the backdrop of cinema and politics in Tamil Nadu. It stars Mohanlal with an ensemble supporting cast including Prakash Raj, Aishwarya Rai, Revathi, Gautami, Tabu, and Nassar. Rai, who was crowned Miss World 1994, made her first screen appearance, playing dual characters.

The high-budget film had its original soundtrack composed by A. R. Rahman, and the cinematography was by Santosh Sivan. The film marked Mohanlal's debut in Tamil cinema after having only a cameo in Gopura Vasalile.

Iruvar was the first Tamil film to be screened at the Academy Museum of Motion Pictures on 19 April 2025[1] and was also screened at the Masters section in the 1997 Toronto International Film Festival. The film won the Best Film award at the Belgrade International Film Festival and two National Film Awards. In 2012, Iruvar was included by critic Rachel Dwyer in the 2012 British Film Institute Sight & Sound 1000 greatest films of all time.[2] In a 2013 interview, Ratnam said he considered Iruvar to be his best film. It used DTS 6 track sound recording.

Plot

[edit]

In the late 1940s, Anandan, an aspiring actor, goes around studios in Madras trying to land roles. He meets Tamizhselvan, a rationalist writer he respects, steeped in Dravidian ideas. On the strength of Tamizhselvan's flowery writing and his own impassioned delivery, he is offered the title role in a few films.

Tamizhselvan introduces Anandan to Ayya Veluthambi, who leads a Dravidian political party. He grows to like the party's ideology. Anandan marries Pushpavalli, while Tamizhselvan marries Maragatham, from their respective villages. When the two return to Madras, Anandan's film has been cancelled due to financial difficulties. In a few months, Tamizhselvan's party becomes the main opposition party. Anandan is reduced to playing minor roles. He sends Pushpavalli back to their village and considers joining the army. A few days later, Pushpavalli dies from illness and Tamizhselvan consoles a despondent Anandan.

Weeks later, Anandan's fortunes return, and he is again offered the part of the protagonist. He convinces the director to hire Tamizhselvan as screenwriter. The film receives tremendous response upon release. Anandan becomes a celebrity and a major star in Tamil Cinema within a few years. During the next elections, Tamizhselvan encourages Anandan to use his popularity to help their party attract more attention. Anandan marries fellow actress Ramani who was being tortured by her own family. Five years later, Ayya Veluthambi asks Anandan to contest in the upcoming elections, though Tamizhselvan thinks there are many other devoted workers deserving candidacy.

Anandan is shot in neck by a prop gun while filming a scene, but the party sweeps elections, with 152 seats out of 234. Ayya Veluthambi refuses to become chief minister. He asks Anandan and another leader, Madhivannan, to decide who should be given the post. Tamizhselvan is resentful that Veluthambi did not involve him, but is chosen to be the chief minister of Tamil Nadu with Anandan's wholehearted support. Anandan later asks to be made the health minister, but Tamizhselvan refuses, on the pretext that the executive committee forbids ministers to continue acting while in office. He offers Anandan any portfolio of his choice on the condition that he suspend his acting career. Anandan does not take it up.

Senthamarai, who had admired Tamizhselvan's daring protests, moves in with him when he writes her a poetic letter and has a daughter with him. Anandan's co-star in his new film is Kalpana who resembles his late wife. While initially distant, Kalpana's chattiness draws Anandan to her. But still married to Ramani, his indecision about another marriage angers Kalpana because of which she leaves him.

In a memorial function on Ayya Veluthambi's death, Anandan claims party's corruption in governance was the cause of death of the former. Anandan's expulsion by Tamizhselvan splits the party, with several members creating a new one under Anandan's leadership.

Anandan uses his popular films for next four years to highlight corruption in Tamizhselvan's government and storms to power in the next election with 145/234 seats. But his governance turns out to be no different. Tamizhselvan's eloquent diatribes against misgovernance spark protests and Anandan orders his arrest with a heavy heart. Meanwhile, Anandan sees Kalpana at a disaster relief site and asks her to be brought. The car bringing her has an accident and Kalpana dies.

Anandan is distraught over Kalpana's death. At the wedding of Ayya Veluthambi's granddaughter, a visibly ailing Anandan meets Tamizhselvan. They share a handshake but hardly talk. The next morning, Ramani finds Anandan dead in his bed. Tamizhselvan, in an emotional monologue set in a place where the two had previously planned dominating the Tamil state, recites poetry mourning his death.

Cast

[edit]

Production

[edit]

Development

[edit]

In October 1995, Mani Ratnam announced that he was set to make a feature film titled Anandan featuring dialogue written by his wife Suhasini and starring Mohanlal, Nana Patekar, and Aishwarya Rai.[5] Initial speculation suggested that the film would visualise the duel between Velupillai Prabhakaran and his former Liberation Tigers of Tamil Eelam deputy Mahattaya, who was executed in 1995 for an alleged plot to kill his mentor, with Aishwarya Rai reported to be playing Indira Gandhi.[6] Mani Ratnam was quick to deny any political backdrop claiming that the film would be about the Indian movie industry; however, this proved to bluff the public as the film was to be set within a political canvas. The film was later retitled Iruvar (The Duo). The idea to make a film on the lives of 1980s Tamil Nadu political icons M. G. Ramachandran and M. Karunanidhi and their influential relationship between Tamil cinema and Dravidian politics was sparked off by a conversation Mani Ratnam had with renowned Malayalam author, M. T. Vasudevan Nair.[7]

Casting

[edit]

When interviewed about the difficulties of casting, Mani Ratnam revealed he "struggled" citing that casting "is most important as far as performance is concerned" and that "fifty per cent of the job is done if you cast correctly".[7] Mohanlal was approached to play Anandan, a character inspired by M. G. Ramachandran and about his performance in the film, Ratnam claimed that Mohanlal had "the ability to make everything absolutely realistic with the least amount of effort". He described that debutant Aishwarya Rai, the former Miss World beauty pageant winner, who appeared in two different characters—one inspired by actress-politician J. Jayalalithaa—as a "tremendous dancer" and as "having a lot of potential". The director revealed that the only difficulty Mohanlal and Rai had was the language, with both being non-Tamil speakers, adding that the pair had to work hard over the dubbing trying to get as close to the Tamil tongue as possible.[7] Tabu was also signed to play an important role in the film and shot for Iruvar alongside her Tamil debut film, Kadhal Desam.[8]

The actor to play the role of Tamizhselvan, inspired by Karunanidhi, took substantially longer to finalise with the initial choice, Nana Patekar, withdrawing after several discussions about his remuneration. Later, Mammootty was offered the role but declined, as did Kamal Haasan and Sathyaraj.[9][10] Negotiations with R. Sarathkumar failed as he demanded a higher remuneration, and Mithun Chakraborty declined as the required looks would have affected his other film commitments. Arvind Swamy was later signed on,[11] but soon opted out after a look test, as he could not cut his hair for the role, which would have caused continuity problems for his commitment to Minsara Kanavu and Pudhayal (1997).[12] Ratnam called R. Madhavan, then a small-time model, for the screen test, but left him out of the project citing that he thought his eyes looked too young for a senior role.[13][14][15] Subsequently, Prakash Raj, who had played a small role in Ratnam's Bombay (1995), was signed up. Prakash Raj initially told Ratnam that he was unprepared to essay such a delicate role on such short notice, with Prakash Raj later revealing that Ratnam nurtured the character and brought self-confidence into the actor.[9]

Filming

[edit]

The film was shot in 1996 and schedules were canned all across India from Kerala to Leh with Mohanlal stating that it was the longest duration he had shot for a film.[16] To ensure perfection, Ratnam made Prakash Raj take 25 takes for his first shot, lasting over six hours. After the shooting for Iruvar was completed, Mani Ratnam asked Prakash Raj to dub in Tamil himself for the first time, with his work taking four days to complete.[9]

Soundtrack

[edit]

The soundtrack was composed by A. R. Rahman.[17] It has songs ranging from pure Carnatic to Tamil folk and jazz. Rahman blended two Carnatic ragas—Naattai and Gambheera Naattai—in "Narumugaye".[18] "Vennila Vennila" and "Hello Mister Edhirkatchi" are based on jazz music.[19][20] Rahman sampled Dave Grusin's "Memphis Stomp" for the intro of "Hello Mister Edhirkatchi".[21] "Udal Mannukku" and "Unnodu Naan Irundha" were recitals by Arvind Swamy.[22] Vishwa Mohan Bhatt also worked on the album, playing the Mohan veena upon Rahman's invitation.[23]

All lyrics are written by Vairamuthu, except where noted.

Tamil
No.TitleSinger(s)Length
1."Ayirathil Naan Oruvan"Mano, A. R. Rahman (backing vocals)5:51
2."Narumugaye"P. Unnikrishnan, Bombay Jayashri6:20
3."Kannai Kattikolathey"Hariharan5:10
4."Vennila Vennila" (Lyricist:Vaali)Asha Bhosle4:59
5."Hello Mister Edhirkatchi"Harini, Rajagopal4:12
6."Pookodiyin Punnagai"Sandhya Jayakrishna5:31
7."Udal Mannuku"Arvind Swamy2:54
8."Unnodu Naan Irundha"Arvind Swamy2:35

All lyrics are written by Veturi Sundararama Murthy, except where noted.

Telugu
No.TitleSinger(s)Length
1."Aadhukonadam Vratha Mai"Mano5:51
2."Sasivadane"P. Unnikrishnan, Bombay Jayashri6:22
3."Kallagganthalu Kattadhoi"Hariharan5:56
4."Vennelaa" (Lyrics by Sirivennela Seetharama Sastry)Asha Bhosle4:58
5."Hello Mister Edurpakshi"Harini, Rajagopal4:13
6."Poonagave"Sandhya Jayakrishna5:31
7."Odalu Mannanta"Mano2:54
8."Unnanu Neeku Thodugaa"S. P. Balasubrahmanyam, Dominique Cerejo2:36

Release

[edit]

The Central Board of Film Certification panel saw the film on 31 December 1996 and opined that various characters in the film reflected the personal lives of some politicians and accordingly a certificate was denied. Following the producer's protest, it was seen by an eight-member revising committee on 2 January 1997 which suggested deletion of some objectionable portions and cleared the film for U/A certification. Four dialogues from the film were subsequently cut.[24] However the objected scenes were muted with a background playing rather than a complete muting of the scenes.

Two days before the release of the film, Dravidar Kazhagam president K. Veeramani threatened to mobilise public against its screening in theatres, because he felt that it contained "objectionable" footage denigrating the Dravidian movement founded by Periyar.[25] The politician threatened legal action if the film was screened in theatres without removing what he perceived as the "offending" portion, but Mani Ratnam dismissed that Veeramani was making rushed conclusions without having seen the film.[25] The film's box office performance was also hampered by the fallout from the FEFSI strike of 1997.[26]

A month after the film's release in February 1997, the regional chief of the censor board G. Rajasekaran brought up the issue again and referred the film to the Indian Home Office for "advice", threatening that if more scenes were not deleted, it might ultimately lead to a law and order problem.[24] The film was dubbed in Telugu under the title Iddaru and in Malayalam under the same name.[27][28]

Reception

[edit]

The film received positive reviews from critics including by reviewers in Kalki,[29] The Hindu,[30] and the Edmonton Sun.[31]

Controversy

[edit]

Both M. Karunanidhi and J. Jayalalithaa denied the relevance of the film to their lives and never admitted to the film being a biopic.[32]

Legacy

[edit]

Mani Ratnam named Iruvar as his best film in an interview with critic Baradwaj Rangan.[33] Rangan also named the film the best work of Mani Ratnam, in his list “All Mani Ratnam Movies Ranked”.

The film was also noted for its vignette style of making, with many single-shot scenes, where a fluid camera setup captures the entire action.

Accolades

[edit]
National Film Awards 1997
International honours

See also

[edit]

References

[edit]

Bibliography

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Iruvar

View on Grokipedia
from Grokipedia

Iruvar (transl. ) is a 1997 Indian Tamil-language epic political drama film co-written, produced, and directed by .
The narrative centers on the evolving relationship between two friends—one a dedicated aspiring to cinema, the other a scriptwriter drawn into politics—whose ambitions lead to ideological conflict and personal estrangement, loosely inspired by the historical interplay between leaders and .
Featuring as the actor Anantha Neelakandan, as the writer-politician Tamizhselvan, in her film debut as Pushpavalli, and supporting roles by and Nassar, the film examines themes of loyalty, power, and the intersection of art and politics in mid-20th-century Tamil society.
Cinematography by and music by contributed to its artistic distinction, earning National Film Awards for Best Supporting Actor () and Best Cinematography, alongside the Best Film honor at the Belgrade International Film Festival.
Critically lauded for its nuanced storytelling and technical excellence, Iruvar achieved strong retrospective appreciation despite modest box-office returns, cementing its status as a benchmark in 's oeuvre for blending personal drama with socio-political commentary.

Synopsis

Plot

Anandan, a struggling stage actor from , meets and befriends Tamizhselvan, a passionate and emerging political within a Dravidian ideological party, during a chance encounter that sparks their collaboration. The two form a deep bond, with Tamizhselvan providing scripts infused with party ideology that launch Anandan into cinematic stardom, transforming him into a mass idol whose popularity bolsters the party's grassroots appeal. Anandan marries Pushpa, but her untimely death in an accident leaves him devastated, prompting his remarriage to another woman who becomes entangled in the ensuing political machinations. Following the demise of the party's revered leader, Ayya Veluthambi, ambitions clash as Anandan leverages his fame to enter , initially aligning with Tamizhselvan's faction but soon sparking a bitter over and . The schism leads to a party split, with Anandan founding his own splinter group that surges to power, elevating him to the position of amid escalating rivalries marked by , public riots, and Tamizhselvan's on charges of . Themes of unchecked ambition and fractured loyalty dominate as Tamizhselvan maneuvers from the shadows to reclaim dominance, exposing the corrosive undercurrents of power within their shared political arena. In a poignant turn, the former friends reconcile at a wedding—the site of their initial meeting—evoking shared memories amid fleeting tenderness. Anandan, however, dies peacefully in his sleep shortly after, prompting Tamizhselvan to mourn profoundly, reciting poetic verses that underscore their enduring yet tragic connection, as Anandan's body is paraded in a final public spectacle symbolizing his legacy.

Historical context

Real-life inspirations

The characters of Anandan and Tamizhselvan in Iruvar draw primary inspiration from M.G. Ramachandran (MGR), a leading Tamil film actor who transitioned into politics, and M. Karunanidhi, a prolific screenwriter and Dravida Munnetra Kazhagam (DMK) ideologue, respectively. MGR joined the DMK in the 1950s, leveraging his stardom in over 130 films—many scripted by Karunanidhi—to promote the party's anti-Brahmin, rationalist, and social justice themes, such as in hits like Naam Iruvar (1947) and Parasakthi (1952). Karunanidhi, who penned dialogues and stories for approximately 75 films starting in the 1940s, used cinema as a vehicle to disseminate DMK principles under founder C.N. Annadurai, rising to become the party's propaganda secretary and treasurer alongside MGR. Tensions within the DMK escalated after Annadurai's death on February 3, 1969, when assumed leadership as , prompting ideological and personal clashes with MGR, the party's treasurer and public face. These culminated in MGR's expulsion from the DMK on October 10, 1972, officially for "indiscipline" after he publicly criticized party finances and leadership amid rumors of corruption probes. MGR responded by founding the All India Anna Dravida Munnetra Kazhagam (AIADMK) on October 17, 1972, in , positioning it as a more populist alternative emphasizing welfare and anti-corruption, which propelled the party to victory in the 1977 elections, securing 130 of 195 seats and installing MGR as . Secondary elements, such as the character Pushpa, reflect broader aspects of MGR's personal relationships and evolving political coalitions, including his marriages and alliances that bolstered his mass appeal, though the film adapts these loosely without direct equivalence. The inspirations underscore the interplay of cinema, personal ambition, and factional rivalries in shaping Tamil Nadu's Dravidian politics during this era.

Factual accuracy and fictional elements

The film accurately captures the symbiotic relationship between , particularly how actors like leveraged stardom for political mobilization within the DMK, mirroring the real-world fusion of film and ideological campaigns that propelled the party's rise in the and . It also faithfully depicts the 1972 schism in the DMK, where the character Ananthu (inspired by MGR) forms a rival faction after ideological and personal clashes with Tamizhselvan (inspired by ), reflecting the actual expulsion of MGR from the DMK on October 17, 1972, and the subsequent founding of the AIADMK. The portrayal of cinema as a tool for political messaging, including scripted films promoting Dravidian , aligns with historical uses of movies by DMK leaders to disseminate anti-Brahmin and narratives. However, significant fictionalizations deviate from verifiable records to heighten dramatic tension. The death of Pushpa, Ananthu's , in a car accident has no real-life parallel; MGR's first , Bargavi, died of illness in , and his second , Sadanandavati, passed away in 1962, also from health complications rather than an accident. Personal rivalries between the leads are exaggerated for narrative intimacy, portraying an initial mentorship evolving into betrayal, whereas historical accounts emphasize MGR's gradual distancing from due to policy disagreements over allegations and control, without the film's level of emotional personalization. Omissions further underscore the film's selective lens: Ananthu's character lacks MGR's documented health struggles, including and that plagued his later ship from 1977 to 1987, potentially sanitizing the physical toll of political ambition. Tamizhselvan's arc simplifies Karunanidhi's five terms as (1969–1976, 1989–1991, 1996–2001, 2006–2011), compressing decades of electoral vicissitudes into a streamlined . Ideological conflicts are reduced to interpersonal drama, eliding deeper debates on governance efficacy, such as critiques of Dravidian administrations' handling of economic policies or internal factionalism beyond the 1972 split. These alterations serve causal compression, spanning roughly 1950 to 1987 in under three hours by accelerating timelines and prioritizing character arcs over chronological fidelity, a common cinematic liberty to humanize historical figures but one that risks romanticizing ambition at the expense of policy substance and empirical outcomes in Tamil Nadu's political evolution.

Production

Development

conceived Iruvar in the mid-1990s as an exploration of the intertwined worlds of and politics, co-writing the screenplay while enlisting his wife, , to craft the dialogues. The story drew from real historical tensions in Dravidian politics and the rise of film stars as political figures, though Ratnam positioned it as fictional rather than a direct biopic of specific individuals. This approach allowed for a that fused interpersonal drama with political intrigue, seeking to engage audiences beyond overt partisanship. Produced under Ratnam's newly established banner, , the project faced logistical hurdles typical of independent ventures, including the 1996 FEFSI technicians' strike that delayed principal photography after script finalization. The completed script by 1996 emphasized character-driven storytelling amid Tamil Nadu's post-independence political evolution, reflecting Ratnam's intent to illuminate causal links between cultural stardom and ideological power struggles without endorsing any faction.

Casting

Mani Ratnam chose , a leading actor known for his versatile portrayals, as his first and only preference for Anandan, citing the actor's ability to embody nuanced charisma without direct imitation of the real-life inspiration, . This cross-regional casting aimed to infuse the Tamil political narrative with Mohanlal's established screen presence and emotional depth, appealing to audiences beyond traditional Tamil stars. For Tamizhselvan, inspired by , Ratnam selected to convey ideological fervor and rhetorical intensity, marking a pivotal early that showcased Raj's command of complex, dialogue-heavy characters. Raj's suitability stemmed from his theater background and prior minor film appearances, enabling a grounded depiction of political ambition. Aishwarya Rai, crowned , debuted in dual roles as Kalpana and Pushpa, selected for her poised elegance and untapped appeal in evoking figures like , despite competing Bollywood overtures; she prioritized Ratnam's vision for a substantive entry over commercial debuts. Revathi was cast as Tamizhselvan's first wife, providing emotional anchor through her established proficiency in subtle, resilient supporting turns, while Nassar portrayed the mentor figure Arignar Anna, leveraging his gravitas in historical roles; and Tabu filled secondary spousal positions, emphasizing ensemble dynamics over star-driven spectacle.

Filming

for Iruvar occurred primarily in 1996, utilizing locations across such as and , alongside sequences shot in , . The production employed standard 35mm , capturing both studio interiors and exterior rural settings to depict the film's political and dramatic arcs. Logistical demands included orchestrating extensive crowd sequences for rally depictions, where director relied on meticulous camera angles and actor blocking to underscore evolving interpersonal rivalries amid mass gatherings. Cinematographer Santosh Sivan's approach emphasized visual depth in these ensemble scenes, leveraging natural and artificial lighting contrasts to heighten dramatic tension without compromising mobility in dynamic environments. editing by Suresh Urs focused on rhythmic continuity, trimming footage to sustain unrelenting propulsion and avert any attenuation in across the film's interwoven timelines. This process ensured the 2-hour-18-minute runtime balanced political intrigue with personal conflicts through precise cut transitions.

Soundtrack

Composition

The soundtrack and background score for Iruvar were composed by ahead of the film's 1997 release. The album comprises six songs, integrating Carnatic classical elements—such as ragas like Nattai and Gambeera Nattai—with modern orchestration, Tamil folk rhythms, and influences to evoke the film's dramatic tensions. Lyrics for the songs were provided by , whose contributions drew from poetic traditions while aligning with the narrative's exploration of power dynamics. Rahman handled the recording primarily at his Panchathan Record Inn studio, incorporating experimental fusion techniques like riffs and unconventional vocal deliveries to heighten thematic depth. In the background score, Rahman utilized character-specific leitmotifs to delineate the central rivalry: a gentle guitar motif for Anandan, signifying his straightforward nature, contrasted with a flute-based theme for Tamizhselvan, reflecting his shrewd . These elements, combined with minimalistic arrangements in select cues and prominent sections, reinforced motifs of ambition and interpersonal conflict without overpowering the dialogue-driven scenes.

Songs and themes

The soundtrack of Iruvar features seven tracks that integrate tightly with the narrative, advancing character arcs and political motifs through subtle rather than overt . "Ayirathil Naan Oruvan," rendered by Mano, accompanies scenes of protagonist Anandan Divakar's () ascent from stage actor to cinematic icon, its rhythmic fervor and choral backing evoking revolutionary zeal tied to ideals, mirroring real historical shifts in Tamil cinema-politics fusion during the 1950s–1970s. The lyrics by reference M.G. Ramachandran's stardom, reinforcing the film's causal link between populist film heroism and political mobilization without relying on exaggerated playback visuals. "Narumugaye," a duet by and , highlights the tender romance between Anandan and his wife Kalpana (), its Carnatic-infused melody underscoring fleeting personal joys amid rising ambitions, with picturization emphasizing natural gestures over lip-sync to maintain narrative flow. Similarly, "Pookodiyin Punnagai" captures the film industry's grind and budding affection on set, blending folk elements to depict hardships faced by aspiring artists like Puspha (Aishwarya Rai), thus grounding the plot's exploration of stardom's interpersonal costs. Tracks like "Kannai Kattikolathey" (Hariharan) shift to introspective melancholy post-political rift between Anandan and Tamizhselvan (), its haunting strings amplifying betrayal's emotional toll and the inexorable pull of ideological divergence, aligning with the film's depiction of eroded by power dynamics. "Vennila Vennila" () evokes nostalgic longing during transitional phases, its semi-classical structure tying personal loss to broader socio-political upheaval, while background cues like "Udal Mannukku" () underscore existential reflection on mortality and legacy without disrupting dialogue-driven realism. Overall, Rahman's compositions prioritize atmospheric enhancement of causal plot progression—ambition breeding rivalry, romance yielding to duty—eschewing superfluous for thematic depth.

Release

Distribution

_Iruvar was released on January 14, 1997, aligning with the Pongal festival, a key release window for Tamil films to capitalize on holiday audiences. Distribution was managed by Madras Talkies, Mani Ratnam's production company, focusing primarily on theaters across Tamil Nadu, with initial screenings in prominent venues in Chennai such as Sathyam Cinemas and expanded to other districts shortly thereafter. A limited Telugu-dubbed version, titled Iddaru, was made available for markets in Andhra Pradesh to broaden regional reach beyond Tamil-speaking audiences. The rollout faced logistical challenges stemming from political controversies, including protests by (DMK) supporters objecting to the portrayal of party figures, which disrupted screenings in select rural theaters and prompted temporary halts in a few locations, though no statewide bans occurred. Internationally, the film debuted at the on September 6, 1997, facilitating limited arthouse distributions in and subsequent festival circuits in Europe and North America.

Box office performance

Iruvar, released on 14 January 1997 during the Pongal festival season, recorded modest theatrical collections primarily in Tamil Nadu but overall underperformed commercially, failing to achieve blockbuster status. Estimates indicate a production budget of approximately ₹10 crore, with gross earnings around ₹4 crore. The film's box office trajectory was impacted by its simultaneous release alongside the more commercially oriented Minsara Kanavu, which drew larger audiences seeking lighter entertainment amid Pongal festivities. Additionally, sensitivities arising from the film's portrayal of Dravidian political figures contributed to reduced turnout in certain areas, as exhibitors reported hesitancy amid political pressures. Theatrical revenues did not fully recover production costs, marking Iruvar as Mani Ratnam's most significant commercial disappointment at the time. While subsequent re-releases and efforts have sustained interest, they have not elevated its initial financial to that of a hit.

Reception

Critical reviews

Critics lauded Mani Ratnam's direction in Iruvar for its intricate weaving of personal ambition and political intrigue, drawing parallels to the real-life trajectories of leaders without overt didacticism. Mohanlal's portrayal of the charismatic actor-turned-politician was particularly praised for its subtlety, capturing quiet intensity and transformation through nuanced gestures rather than histrionics. Prakash Raj's debut lead role as the scriptwriter-politician was noted for adding raw ideological fervor, enhancing the film's exploration of loyalty and betrayal. However, some reviews highlighted the film's dense script and deliberate pacing as barriers to accessibility, arguing that the elliptical and lack of conventional masala elements—such as fast-paced songs or action—distanced casual audiences expecting lighter . The non-linear structure, while ambitious, was critiqued for occasionally feeling disjointed or documentary-like, demanding prior knowledge of Dravidian politics to fully appreciate its layers. At international festivals, including the 1997 Toronto International Film Festival's Masters section and the Belgrade International Film Festival where it won Best Film, Iruvar garnered acclaim for its sophisticated depiction of ideological rivalry and the interplay between cinema and power. Select voices dissented, viewing the portrayal of political ascent as overly romanticized, prioritizing dramatic friendships over the gritty pragmatism of realpolitik.

Audience and commercial reception

_Iruvar elicited divided audience responses in Tamil Nadu and beyond, with urban cinephiles and politically informed viewers appreciating its nuanced portrayal of dynamics, while mass-market patrons expressed confusion over the intricate narrative and disinterest in its subdued pacing devoid of high-energy action or mass-appeal songs. General viewers unfamiliar with figures like and often struggled to connect with the film's layered political and personal rivalries, perceiving it as overly intellectual rather than escapist entertainment. This urban-rural and niche-mainstream divide was evident in initial screenings, where audiences resonated selectively with the film's evocation of regional cinema-politics interplay but rejected its departure from formulaic tropes favored in rural theaters and B-circuit markets. Feedback highlighted a preference for lighter fare amid the Tamil industry's emphasis on star-driven spectacles, contributing to lukewarm word-of-mouth that deterred repeat viewings. Commercially, the film opened strongly on January 14, 1997, buoyed by pre-release hype around its controversial political inspirations, Rai's debut promotion, and the MGR-Karunanidhi parallels, yet it quickly faltered into a flop, failing to sustain runs beyond initial weeks. Its underwhelming performance was exacerbated by the Film Employees Federation of (FEFSI) strike disruptions, limiting distribution and screenings during a critical early period. No precise gross figures were widely reported, but contemporaries classified it as a financial relative to Mani Ratnam's prior hits like Roja, underscoring audience resistance to its ambitious but uncommercial structure.

Controversies

Political backlash

Supporters of the (DMK) and All India Anna Dravida Munnetra Kazhagam (AIADMK) voiced strong objections to Iruvar's release on January 16, 1997, arguing that its characters—Tamizhselvan (inspired by DMK leader ) and Anandan (inspired by AIADMK founder )—defamed their leaders through fictionalized accounts of personal affairs, ideological rifts, and power struggles within the . Party cadres from both sides accused the film of distorting historical events, such as the 1972 split in the DMK that led to AIADMK's formation, by emphasizing ego-driven betrayals over ideological differences, which they claimed undermined the founders' legacies. , while not issuing direct public rebukes, distanced himself through statements denying any biographical intent, a stance echoed by DMK mouthpieces that portrayed the narrative as manipulative and overly sympathetic to rival figures. AIADMK sympathizers similarly protested the depiction of Anandan as ambitious yet vulnerable, interpreting scenes of marital discord and political opportunism—mirroring rumors around Ramachandran's life—as biased vilification that ignored his mass appeal and welfare policies. These groups organized demonstrations calling for bans on screenings, asserting the film's proximity to real events risked inciting partisan tensions in Tamil Nadu's polarized political landscape. Mani Ratnam countered these claims by insisting Iruvar was a fictional inspired by personas and key historical moments, not a or biopic, thereby invoking to explore the interplay of cinema, friendship, and ambition without endorsing any political viewpoint. Proponents of the film highlighted its even-handed scrutiny of both leaders' flaws as a truthful reflection of causal dynamics in Dravidian politics, where personal bonds fractured under power's weight, rather than overt partisanship.

Censorship and sabotage allegations

The initially denied certification to Iruvar following a viewing on December 31, 1996, citing depictions of characters that allegedly reflected the personal lives of living politicians and required referral to the Home Department for advice. Certification was granted after agreed to cuts, including muting certain dialogues and excising scenes deemed sensitive to political figures, allowing a theatrical release on January 14, 1997. Allegations of sabotage emerged post-release, with claims that political figures, particularly from the ruling (DMK), exerted pressure on theaters to limit screenings through legal threats and informal intimidation, coinciding with the film's Pongal timing amid 1996 assembly election aftermath. These assertions, voiced by industry observers, lacked documented evidence such as official complaints or court records, and were compounded by a broader Tamil strike that restricted overall releases. Empirically, Iruvar faced curtailed theater availability in Tamil Nadu, contributing to its underperformance with fewer than 50 initial screens despite star power, though director attributed the commercial failure primarily to audience disinterest in its political narrative rather than orchestrated interference. In later reflections, Ratnam criticized the censor board's alignment with ruling parties, suggesting procedural hurdles reflected institutional bias but stopping short of confirming in distribution.

Legacy

Cultural and political impact

Iruvar marked a departure in by depicting political ascent through personal ambition and rivalry rather than idealized heroism, influencing subsequent films to explore Dravidian party dynamics with nuanced character flaws. The film's portrayal of intertwined cinema and politics highlighted causal links between , ideological shifts, and power consolidation, challenging the deification common in earlier narratives of figures like . This approach fostered a subgenre of political biopics or dramas that prioritize interpersonal betrayals over infallible leadership tropes. Culturally, the film resonated by humanizing leaders' vulnerabilities, prompting audiences to reflect on ambition's corrosive effects on alliances, as evidenced by its role in kindling interest in Dravidian history among younger viewers detached from the era's events. Its narrative arc, drawing from real rivalries without overt , contributed to public discourse on how charisma and ideology intersect to sustain political machines in . This realism extended to broader reflections on Tamil , underscoring cinema's historical amplification of regionalist movements while exposing their internal fractures. In the political sphere, Iruvar's enduring relevance persists amid Tamil Nadu's bifurcated Dravidian landscape, with DMK and AIADMK continuations echoing the film's themes of factionalism. Anniversaries in the , including the 25th in 2022 and digitization efforts for re-release announced in 2021, reaffirm its status as a touchstone for analyzing power's personal costs, evidenced by sustained discussions tying its events to contemporary leadership transitions. Recent mentions of theatrical re-releases further indicate its capacity to provoke reevaluation of historical narratives in light of ongoing political stasis.

Awards and retrospective recognition

Iruvar secured two awards at the 45th National Film Awards, presented in 1998 for films released in 1997: Prakash Raj received the Silver Lotus for Best Supporting Actor for his portrayal of Ananda, cited for its "sensitive and consistent portrayal of a powerful character," while cinematographer Santosh Sivan won the Silver Lotus for Best Cinematography. The film also won the Best Film award at the Belgrade International Film Festival. In retrospective assessments, Iruvar has been featured in tributes to director Mani Ratnam's career, including dedicated screenings and discussions highlighting its narrative on Tamil Nadu's political-cinematic nexus. , reflecting on his National Award win in 2025, noted the film's role in establishing his versatility beyond commercial roles. Despite its initial commercial challenges, the film continues to be referenced in analyses of Ratnam's oeuvre for its layered depiction of power dynamics, as evidenced by anniversary retrospectives marking its enduring thematic relevance.

References

  1. https://www.imdb.com/title/tt0119385/
  2. https://www.mubi.com/en/us/films/the-duo
  3. https://letterboxd.com/film/iddaru/
  4. https://timesofindia.indiatimes.com/entertainment/tamil/movie-details/iruvar/movieshow/61316127.cms
  5. https://www.imdb.com/title/tt0119385/awards/
  6. https://baradwajrangan.wordpress.com/2022/01/15/twenty-five-years-of-iruvar/
  7. https://www.imdb.com/title/tt0119385/plotsummary/
  8. https://vindbiasedreviews.wordpress.com/2018/06/04/iruvar/
  9. https://www.behindwoods.com/tamil-movies/slideshow/10-must-know-facts-about-kalaignar-karunanidhi/iruvar-is-loosely-based-on-karunanidhis-relationship-with-mgr.html
  10. https://www.filmfare.com/news/south/mohanlal-in-iruvar-when-an-icon-played-another-74014.html
  11. https://www.thehindu.com/news/national/tamil-nadu/m-karunanidhi-a-screenwriter-who-took-dravidian-ideology-to-the-masses/article24548773.ece
  12. https://www.newindianexpress.com/galleries/entertainment/2018/Aug/07/life-of-kalaignar-m-karunanidhi-in-cinema-101700.html
  13. https://www.ndtv.com/people/m-karunanidhi-renowned-script-writer-whose-works-led-the-dravidian-movement-1897053
  14. https://dbsjeyaraj.com/dbsj/?p=80002
  15. https://www.thehindu.com/news/national/tamil-nadu/a-look-at-the-events-leading-up-to-the-birth-of-aiadmk/article37046741.ece
  16. https://timesofindia.indiatimes.com/politics/aiadmk/articleshow/55854117.cms
  17. https://www.outlookindia.com/national/aiadmk-tracing-the-journey-from-its-formation-its-alliances-governments-and-power-struggles
  18. https://www.thequint.com/entertainment/indian-cinema/25-years-of-iruvar-mani-ratnam-aishwarya-rai-mohanlal-revathi
  19. https://www.onmanorama.com/in-depth/karunanidhi-no-more/2018/07/28/the-iruvar-mgr-and-karunanidhi.html
  20. https://www.thequint.com/opinion/karunanidhi-mgr-relationship-iruvar-film
  21. https://www.m.daijiworld.com/news/newsDisplay?newsID=885677
  22. https://kirukkal.com/2006/07/24/suhasini-partly-scripting-guru/
  23. https://scroll.in/reel/1014841/in-mani-ratnams-iruvar-a-world-of-mirrors-and-illusion
  24. https://www.indiatoday.in/movies/regional-cinema/story/prakash-raj-reunites-with-his-iruvar-director-mani-ratnam-after-three-decades-shares-pic-2670150-2025-01-25
  25. https://x.com/FilmHistoryPic/status/1904910134918148278
  26. https://www.timesnownews.com/entertainment-news/when-aishwarya-rai-bachchan-opened-up-about-choosing-mani-ratnams-iruvar-over-bollywood-films-for-her-debut-article-94438746
  27. https://x.com/MovieCrow/status/1810343464980431067
  28. https://www.quora.com/What-are-the-characters-corresponding-to-the-real-life-persons-in-the-Tamil-movie-Iruvar
  29. https://www.instagram.com/p/Cxe836fxO5l/
  30. https://www.moviebuff.com/iruvar
  31. https://wolfcrow.com/camera-angles-and-blocking-iruvar-by-mani-ratnam/
  32. https://madaboutmoviez.wordpress.com/tag/suresh-urs/
  33. https://rahmaniablog.wordpress.com/2012/05/21/iruvar-the-music/
  34. https://www.facebook.com/photo.php?fbid=3238443882872467&id=135282099855343&set=a.849523025097910
  35. http://www.backgroundscore.com/2008/04/listening-iruvar.html
  36. https://arrahmanian.com/tamil-movies/iruvar
  37. https://www.imdb.com/title/tt0119385/soundtrack/
  38. https://baradwajrangan.wordpress.com/2020/12/02/readers-write-in-308-indulging-in-iruvar/
  39. https://music.apple.com/us/album/iruvar-original-motion-picture-soundtrack/1705493652
  40. https://www.imdb.com/title/tt0119385/releaseinfo/
  41. https://grabyourpopcornblog.wordpress.com/2017/04/14/iruvar-1997/
  42. https://madaboutmoviez.wordpress.com/2012/04/05/iruvar-the-doomed-masterpiece/
  43. https://www.thenewsminute.com/tamil-nadu/mani-ratnam-classic-which-captured-rise-3-tn-cms-bombed-20-years-ago-54427
  44. https://timesofindia.indiatimes.com/entertainment/tamil/movies/news/digitization-work-of-mani-ratnams-classic-hit-iruvar-is-in-full-swing/articleshow/83954498.cms
  45. https://www.reddit.com/r/kollywood/comments/1i16v4x/folks_was_mohanlals_performance_criticised_when/
  46. https://www.imdb.com/title/tt0119385/reviews/
  47. https://www.facebook.com/celluloidc/posts/3-iruvar-1997-not-only-within-mani-ratnam-filmography-but-iruvar-consistently-wi/1627078771489668/
  48. https://www.nowrunning.com/movie/7817/tamil/iruvar/index.htm
  49. https://www.imdb.com/title/tt0119385/trivia
  50. https://www.quora.com/How-would-you-rate-Iruvar-in-terms-of-depicting-the-interpersonal-dynamics-of-MGR-and-Karunanidhi
  51. https://dontcallitbollywood.com/2016/05/20/iruvar-okay-is-it-my-fault-that-i-didnt-understand-this-movie-or-is-it-because-i-needed-to-know-60-years-of-dmk-history/
  52. https://www.quora.com/Why-could-Tamil-people-not-celebrate-a-classical-movie-like-Iruvar
  53. https://www.facebook.com/groups/824940620926723/posts/4127997747287644/
  54. https://balusboxoffice.quora.com/https-www-quora-com-Was-the-film-Iruvar-a-flop-Did-it-run-into-controversy-answer-Kanthaswamy-Balasubramaniam
  55. https://www.jstor.org/stable/4406090
  56. https://www.cinemaexpress.com/photos/slideshows/2020/Jan/16/24years-of-iruvar-a-nostalgic-look-back-at-mani-ratnams-ode-to-tn-politics50-lesser-known-fact-851.html
  57. http://www.cscsarchive.org/MediaArchive/art.nsf/%28docid%29/F4AF25E8DDFA9E8F6525694100207BAB?OpenDocument
  58. https://www.thehindu.com/news/cities/bangalore/Censor-board-often-misused-by-party-in-power-Mani-Ratnam/article14028730.ece
  59. https://cinephilereviewblog.wordpress.com/2014/12/26/iruvar-1997-mohanlal-and-mani-ratnam-equal-to-scorsese-de-niro/
  60. https://www.instagram.com/reel/DGX_RFOMRiG/
  61. https://www.deccanchronicle.com/entertainment/kollywood/081216/time-to-revisit-mani-ratnams-iruvar.html
  62. https://thewordsmithwithaquill.substack.com/p/till-death-do-us-part-the-brilliant
  63. https://www.reddit.com/r/kollywood/comments/1l1dw0b/mani_ratnam_films_8k_restoration_updates/
  64. https://www.facebook.com/agscinemas/videos/iruvar-is-a-1997-political-drama-produced-and-directed-by-mani-ratnam-the-film-w/4311900368844358/
  65. https://www.youtube.com/watch?v=_RPBUgtTupQ
  66. https://www.timesnownews.com/entertainment-news/bollywood/prakash-raj-recalls-receiving-first-national-award-for-iruvar-says-next-year-you-have-to-prove-yourself-again-article-151561607
Add your contribution
Related Hubs
User Avatar
No comments yet.