Again these scenes serve to show how Chandru is deeply affected by these and how he becomes more determined in his pursuit of justice. There are about two significant scenes where we see the community after the tragedy-one where the victims narrate incidents of police violence to Inspector Perumalsamy (Prakash Raj) and another where the community mourns for Rajakannu’s death.
By the way the events are set in the movie, it feels as though the lives of people of the Irular community are shown just so that the character Chandru can get a case (this could be because of the genre, but why choose this genre?). We do not get to see the community’s response to the cruel tragedy that has struck them or how they cope with it.
We stop seeing the community onscreen once Chandru is approached and the court trial begins. What is upsetting is that it doesn’t stick to it throughout.
Even though the chosen genre is “courtroom drama”, the movie feels it necessary (and quite rightly so) to document the lives of the people of the Irular community it doesn’t hesitate in doing so. On the other hand, the screenplay of Jai Bhim seems conflicted between the Irular community and the individual Chandru and chooses a clumsy middle ground. When Karnan returns to the village, it’s not heroic music that welcomes him but the oppari sung by the community for those it has lost due to police violence. The fight for justice and dignity is shown to be a collective effort and not an individual pursuit. Even during the times of direct encounters with the police, it’s the community that is seen at the forefront and its response to it. We know and grow to love Manjanathi’s Purushan (husband) Yema Raja, cherish his bond with the one he fondly calls Mathini, worry about Poyilal’s education, empathise with Padmini (Karnan’s sister), feel Draupadi’s love, disapprove of Vadamalaiyan’s ways and respect Duryodhanan’s leadership. Though Karnan, played by Dhanush, is the main protagonist, the movie’s focus doesn’t waver from the community-its customs, practices, beliefs, and members. Mari Selvaraj’s Karnan is primarily about the community to which the titular character belongs (the community is not denoted by its caste name as Mari Selvaraj firmly believes that one shouldn’t propagate what one’s fighting against).
Also, both the movies, surprisingly, seem to have happy endings (sort of-one can argue the loss is more than the gain). Inspired by real-life incidents, the movies have the same themes-oppression by caste, police brutality, and systemic injustice. Their fight for equality is countered by the retaliation of the police force and things turn bloody. We see how the community faces oppression from all sides and the system in place makes sure that there’s no change in the status quo. Karnan, too, deals with a marginalised community, their plight and fight for a bus stop in their village, Podiyankulam. It also garnered casteist attacks from those who worry about the possible significance of the calendars that hang in the house of the police officers rather than their direct actions. Many appreciated the movie for its powerful screenplay and called it bold. The movie, in telling this tale, manages to document the life of the Irular community, the difficulties they face in obtaining a caste certificate and other government documentations that prove their existence, and the atrocities committed by the caste society.
Advocate Chandru (Suriya) helps Sengeni by taking up the case. The police try to cover up the truth which sets off Sengeni (Lijomol), Rajakannu’s wife, on a quest for truth and justice. Rajakannu (Manikandan), wrongly accused of theft because of the community he belongs to, suffers from police brutality along with his relatives, and eventually dies in custody. Jai Bhim has as its plot a real life tragic incident and the legal battle that followed after.