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These native Malays received advantages in buying land and housing, founding companies, getting government jobs, basically every area of life. In order to fix this power imbalance, the government passed laws giving massive advantages to native Malays, defined as someone who “professes the religion of Islam, habitually speaks the Malay language, conforms to Malay customs and is the child of at least one parent who was born within the Federation of Malaysia before independence of Malaya on 31 August 1957, or the issue (off-spring) of such a person.” After independence, there was a concern that the power in the country should be returned to the native Malays, rather than the elites who ran it during colonialism. At the same time, the colonial elites brought in other Indian (and Chinese) workers to be government bureaucrats and hold higher level positions. In the colonial era, thousands of Tamilians were brought over to be low level unskilled laborers. I know there is a lot I am missing, feel free to fill me in in the comments, but here is the basic outline I can see so far. So, before writing this review I did a quick scan through JSTOR looking for journal articles on Malaysia, and a quick dip into wikipedia and some news sources to get some up to date info. And, of course, the southern film industries go much farther and are much braver in being directly political than the northern industries are. Back when the British were in charge, it was all about sneaking in pro-Independence messages, and then it went on to talking about the License Raj and the Emergency and all sorts of other taboos, without really obviously talking about them, because then the censors will shut you down.
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I talk about this more in my book, but Indian film has always always done that.
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But all of this talk about filmmakers trying to get their message out to the audience and refer to hidden histories under the eyes of the censors felt kind of like “well yeah, no duh!” to me. It was a really interesting class, we talked about Pol Pot documentaries and Taiwanese historicals and German WWII movies. In grad school, I took a film class on films from conflict torn areas. I mean, this isn’t just me being psychic obviously, the promotions for the film and some of the comments on my other articles kind of gave me a heads up that this film was going to be dealing with a political issue while trying very hard not to make it obvious what it was doing. I was watching Kabali thinking “this is a good movie, but also it has that distinctive flavor of a movie that wants to be about something in particular, but isn’t allowed to say it straight out.” Mostly the songs, that’s where I was getting it, there were these little things dropped into the lyrics that sounded really specific in a way that they didn’t need to be, “lend me your ears or I will cut them off with the same scissors my mother used to cut cloth”, for instance. I saw Kabali! It was SO GOOD! Okay, the second half lost track of itself a little bit, and there were some character bits that could have been better, but overall it just had so much more depth and excitement and energy than the other movies I have seen lately!