Thalaivettiyaan Paalayam, the Tamil remake of the Hindi series Panchayat, reminded me of a Tamil TV serial that many of the millennials grew up watching. It was about a city-bred protagonist trying to deal with a rural village, its superstitions and limitations all the while trying to unravel its mystery. I am talking about Vidaathu Karuppu, directed by Naga, which is based on the novel by Indira Soundarajan. While the TV serial was an intense mystery thriller about a tribal God in a rural village, Thalaivettiyan Palayam is a light-hearted drama. The two only coincide in their essence that’s about the crisscrossing of modern rationalism and rural conservatism. No wonder Naga was roped in to be the director of Thalaivettiyaan Paalayam because it is a familiar playground. The similarity is further accentuated by Naga’s decision to bring in actors Chettan and Devadrashini (now married couple), who played the lead roles in the 90s iconic serial.
While Devadarshini was the modern woman, the stranger in the village, in the TV series, here she plays the role of a village Panchayat Chairman Meenakshi Devi, who lets her husband Meenakshi Sundaram (Chettan) take over her responsibilities as she is more concerned about her household chores. The series doesn’t rob her of agency. In here, the husband rules but the wife continues to command in her way. They are aided by Meenakshi’s brother (Anand Sami). However, Thalaivettiyan Palayam is the story of Siddharth (Abhishek Kumar), who lands in this village, situated in the hinterlands of Tirunelveli. From day one, he sulks about the odd job in the middle of nowhere, which pays him only twenty thousand a month. He regrets his poor academic performance which has landed him in a dire state, rendering him jealous of his friend, an IT employee leading a lavish lifestyle in Chennai. In the hope of getting out of his situation, the Panchayat secretary uses his leisure time preparing for the CAT exam to pivot in his career. Yet, things aren’t that easy as he has to deal with one misadventure after another in the village, which throws at him peculiar problems that range from being silly to sensitive.
Aesthetically, the film comes across as a play capture on a camera as the production design is thread bear and the texture is minimalistic, which could be the conscious decision to reflect the aired nature of the geography of the setting. However, in many instances, it is hard to figure out whether the coarseness is due to the intended style or poor execution. Also, Thalaivettiyaan Paalayam brims with innocence which is a bit jarring. It cuts a naive caricature out of everyone in the village and makes it a bit unrealistic. Everyone in this universe seems to be carrying a heart of gold. However, as the series progresses, it is evident realism is never the point. The aim is to be thought-provoking and pleasant at the same time. The message of progress hits you not as a storm, but as a gentle breeze.
In a way, the whole series is like its adorable protagonist Siddharth—Abhishek does an efficient job. Siddharth avoids confrontation and doesn’t know how to say ‘No’. That doesn’t make him a people-pleaser either. He is irritated with the job and his current predicament, which is clear on his ever-wincing face. He takes whatever is thrown at him. He turns an errand boy at a local family function, lends his room to a demanding groom, and even puts up with Meenakshi Devi’s refusal to do her duty. Despite being a borderline doormat to the village and its people, he manages to bring out some change in his way. That’s the nature of the series itself. It has its reservations about the conservatism and backwardness of the village, but it wears a rosy lens while looking at the problems. Even the conversations around caste are dealt with a similar matter-of-fact tone. No one is antagonised, and every character is affable making the series a cosy watch.