വിഗ്രഹാരാധനയില്‍  വിശ്വാസമില്ലാത്ത ഒരു സത്യവിശ്വാസി . “മതം മനുഷ്യനെ മയക്കുന്ന കറുപ്പാണ്” എന്ന് പറഞ്ഞ തത്വങ്ങളെ മുറുകെ പിടിച്ചിരുന്ന ഒരു അസ്സല്‍ ഇടതു പക്ഷ ചിന്തകന്‍. സ്വാഭാവികമായും ഇങ്ങനെ ഒരാളില്‍ നിന്ന് ഒരു ഭക്തി ഗാനം പ്രതീക്ഷിക്കാമോ ?

ദൈവം ഇല്ല എന്ന് ഉറക്കെ പറയുമ്പോഴും ദൈവം ഉണ്ട് എന്നതിന്റെ തെളിവായിരുന്നു ആ പ്രതിഭ !  മലയാള സിനിമ കണ്ടതില്‍ വച്ച് ഏറ്റവും നല്ല അയ്യപ്പ ഭക്തി ഗാനങ്ങള്‍ തിരഞ്ഞെടുത്താല്‍ “ശബരിമലയില്‍ തങ്കസൂര്യോദയം” എന്നും ആദ്യത്തെ ഒന്നിലോ രണ്ടിലോ വരും. എന്നു കരുതി അത് കൊണ്ട് വയലാര്‍ രാമവര്‍മ എന്ന മനുഷ്യന്‍ ദൈവ വിശ്വാസി ആണെന്ന് കരുതണ്ട . കാരണം അതേ ചിത്രത്തില്‍ തന്നെ “ഒരു കുപ്പി കള്ളടിച്ചാല്‍ ഈശ്വരന്‍ പിണങ്ങുമെങ്കില്‍ ചുമ്മാ പിണങ്ങി ക്കൊട്ടെ“  എന്നും പറയുന്നുണ്ട്.

ശബരിമലയില്‍ തങ്കസൂര്യോദയം.

ദൈവം ഇല്ല എന്ന് വയലാര്‍ പറയുന്നുണ്ടോ ? ഇല്ല. അള്ളാഹുവും  ക്രിസ്തുവും  കൃഷ്ണനും ഒക്കെ ഒന്നാണ് എന്നും ഇതെല്ലാം  ചേര്‍ന്നതാണ് സാക്ഷാല്‍ ഈശ്വരന്‍ എന്നും വയലാര്‍ വിശ്വസിക്കുന്നു. 1972 – ഇല്‍ ശ്രീ കെ.എസ്. സേതുമാധവന്‍ സംവിധാനം ചെയ്ത അച്ഛനും ബാപ്പയും എന്ന ചിത്രത്തിനു  വേണ്ടി വയലാര്‍ ഇങ്ങനെ എഴുതി :

ക്രിസ്തുവും കൃഷ്ണനും നീയല്ലോ
ബുദ്ധനും നബിയും നീയല്ലോ
ഒന്നായ നിന്നെ രണ്ടെന്നു കണ്ടവര്‍
അന്ധന്മാരല്ലോ .

അതേ വര്‍ഷം തന്നെ കുഞ്ചാക്കോ സംവിധാനം ചെയ്ത പോസ്റ്റുമാനെ കാണാനില്ല എന്ന ചിത്രത്തില്‍ കുറച്ചു കൂടെ വ്യക്തമാക്കി :

ഈശ്വരന്‍ ഹിന്ദുവല്ല, ഇസ്ലാമല്ല
ക്രിസ്ത്യാനിയല്ല, ഇന്ദ്രനും ചന്ദ്രനുമല്ല!

തീര്‍ന്നില്ല.ഈ ഗാനത്തിന്റെ അനുപല്ലവിയും ചരണവും അല്പം ഞെട്ടിച്ചു എന്ന് തന്നെ പറയാം.

കൃഷ്ണനെ ചതിച്ചു, ബുദ്ധനെ ചതിച്ചു
ക്രിസ്തുദേവനെ ചതിച്ചു, നബിയെ ചതിച്ചു
മാര്‍ക്സിനെ ചതിച്ചു, നല്ലവരെന്നു നടിച്ചു
നിങ്ങള്‍ നല്ലവരെന്നു നടിച്ചു.

ദൈവത്തിനും ദൈവപുത്രനും ഇടയില്‍ ഇടതുപക്ഷ നായകന്‍ മാര്‍ക്സ് എങ്ങനെ വന്നു ? ഒരു പക്ഷെ വയലാറിന് ദൈവത്തിനു സമം ആകാം അവര്‍ .
ഇനിയും ചരണങ്ങള്‍ നോക്കാം :

വെള്ളപൂശിയ ശവക്കല്ലറയിലെ വെളിച്ചപ്പാടുകളേ
നിങ്ങള്‍ അമ്പലങ്ങള്‍ തീര്‍ത്തു, ആശ്രമങ്ങള്‍ തീര്‍ത്തു
ആയിരം പൊയ്‌മുഖങ്ങള്‍ തീര്‍ത്തു!

മനസ്സിലായില്ല? എന്നാല്‍ അടുത്തത് കൂടി :

കാവി ചുറ്റിയ സന്ധ്യയ്ക്കു പിന്നിലെ കറുത്തവാവുകളേ,
നിങ്ങള്‍ ഭാരത വേദാന്തം അദ്വൈത വേദാന്തം
ഭഗവദ്ഗീത കൊണ്ടു മറച്ചു,
ഇത്രനാള്‍ ഭഗവദ്ഗീത കൊണ്ടു മറച്ചു.

ഇവിടെ മതത്തിന്റെ തിമിരം ബാധിച്ച എല്ലാവരെയും വയലാര്‍ നോക്കുന്നില്ല. ഈ രണ്ടു ചരങ്ങളിലും ഹൈന്ദവ അനാചാരങ്ങള്‍ മാത്രമാണ് വയലാര്‍ കണ്ടത്.

ഈശ്വരന്‍ ഹിന്ദുവല്ല.

കെ.എസ്. സേതുമാധവന്‍ സംവിധാനം ചെയ്ത ലൈന്‍ ബസ്സില്‍ വയലാര്‍ പറയുന്നു,

അദ്വൈതം ജനിച്ചനാട്ടില്‍, ആദിശങ്കരന്‍ ജനിച്ചനാട്ടില്‍
ആയിരംജാതികള്‍ ആയിരംമതങ്ങള്‍ ആയിരംദൈവങ്ങള്‍!

ഇതില്‍ തന്നെ നിത്യ സ്നേഹം ആണ് നിലനില്‍ക്കുന്നത് എന്ന് പറയുന്ന വയലാര്‍ അദ്വൈതം ഒരു മതത്തിന്റെയും കുത്തക അല്ല എന്ന് ഉറപ്പിക്കുന്നു വേറെ ഒരു പാട്ടിലൂടെ.കുഞ്ചാക്കോ സംവിധാനം ചെയ്ത ദുര്‍ഗയിലെ ഗുരുദേവാ എന്ന ഗാനത്തില്‍,

അദ്വൈതത്തിനെ പൂണൂലണിയിക്കും,
ആര്യമതങ്ങള്‍ കേള്‍ക്കെ, അവരുടെ ആയിരം ദൈവങ്ങള്‍ കേള്‍ക്കെ
ഒരുജാതിയൊരുമതം ഒരുദൈവമെന്നൊരു..

ഇവിടെ എല്ലാം എല്ലാ മതങ്ങളെയും വയലാര്‍ സ്പര്‍ശിക്കുന്നില്ല .പകരം ഹൈന്ദവ മതങ്ങളെ മാത്രമാണ് വിമര്‍ശിക്കുന്നത്.

ഗുരുദേവാ

എന്നാല്‍ കാവ്യമേളയ്ക്ക് വേണ്ടി എഴുതിയ ഗാനത്തില്‍ വയലാര്‍ ഇങ്ങനെ പറയുന്നു,

ഈശ്വരനെത്തേടിത്തേടിപ്പോണവരേ
ശാശ്വതമാം സത്യം തേടിപ്പോണവരേ
നിങ്ങള്‍ മനുഷ്യപുത്രനു കൊണ്ടുവരുന്നതു മരക്കുരിശല്ലോ
ഇന്നും മരക്കുരിശല്ലോ!

ഈശ്വരനെത്തേടി

ഇവിടെ ഹൈന്ദവത വിട്ടു മാറിയതായി തോന്നുന്നു.പക്ഷെ ദൈവം അത്ര കഠിന ഹൃദയന്‍ ഒന്നുമല്ല എന്നാണ് വയലാര്‍ പക്ഷം. നവവധുവിന് വേണ്ടി എഴുതിയ ഗാനം അത് വ്യക്ത്യമാക്കുന്നു:

ഈശ്വരന്റെ തിരുമൊഴി കേട്ടു
കിളി ചിലയ്ക്കും പോലെ
ഇതാ മനുഷ്യൻ ഇതാ മനുഷ്യൻ
ഇവനെന്റെ പ്രിയ പുത്രൻ

ഗാനം ഇങ്ങനെ തുടരുന്നു

അവൻ നിത്യ ദുഃഖത്തിന്റെ ചുമടെടുത്തപ്പോൾ
മിഴി നിറഞ്ഞു ദൈവത്തിൻ മിഴി നിറഞ്ഞു
അപ്പോള്‍ ശരിക്കും ദൈവം ഉണ്ടോ ?

വാല്‍ക്കഷ്ണം.

ശബരിമലയില്‍ അയ്യപ്പനെ നെയ്യഭിഷേകം ചെയ്യുമ്പോള്‍ ദര്‍ശിക്കുന്നത് പുണ്യമാണ് എന്ന് വയലാറിനും അറിയാം . “നെയ്യഭിഷേകമൊരു പുണ്യ ദര്‍ശനം” എന്ന് എഴുതി വയ്ക്കുകയും ചെയ്തു . എന്നാല്‍ അങ്ങനെ നെയ്യില്‍ മുങ്ങി നില്‍ക്കുന്ന അയ്യപ്പനെ എന്ത് വിളിക്കണം ? ഈ ചോദ്യത്തിന് ഉത്തരം മകന്‍ വയലാര്‍ തരുന്നു . കാണാകണ്മണി എന്ന ചിത്രത്തിന് വേണ്ടി എഴുതിയ ആദമല്ലേ ഈ മണ്ണില്‍ ആദ്യം എന്ന ഗാനത്തില്‍ കൃത്യമായി മകന്‍ എഴുതി, “തപ്പാണേ പൊന്നയ്യാ കരിമലവാസാ അയ്യപ്പാ നെയ്യപ്പാ എല്ലാം നീയോ ചോദിക്ക്.” അതായതു, നെയ്യില്‍ മുങ്ങി  നില്‍ക്കുന്ന അയ്യപ്പനെ നെയ്യപ്പാ എന്നും വിളിക്കാം എന്ന് സാരം !

Cross-dressing onscreen in Indian cinema isn’t anything new, in fact it has been one of the reliable tools of generating guffaws in an onscreen narrative when the going is tepid or lack-lustre. Same has been the case with Malayalam cinema too, and more so owing to strong, polarised, testosterone-dripping “maleness” that have come to be associated with the onscreen leading personas since the past six decades – ever since we got the “bi-polar successions” of Sathyan – Prem Nazir, Mohanlal – Mammootty and hopefully it would end with the last.

But there is  quite an interesting  chapter in, arguably, one of the most prolific actor of our times, Adoor Bhasi, that some how seems to have been passed upon –  the sheer number of drag acts that he has brought alive on the Malayalam screen!  And if one looks closely, it turns all the more intriguing is the fact that NO OTHER male actor in Malayalam cinema has obviously expressed himself onscreen, in borrowed attire from the opposite sex,  the way Adoor Bhasi has, in Malayalam cinema. I am sure it would hold good for the acts in Indian cinema as well, but then again, that would warrant more research.

The number of  movies that Adoor Bhasi has been a part of in Malayalam films makes it next to impossible, like most of his peers’, to get a grip on the variety of characters he brought to life onscreen. When one looks at Prem Nazir’s films, Adoor Bhasi was the staple ingredient that powered his acts onscreen, and in a way, chronicling the Evergreen Hero’s movies are in itself, taking stock of Adoor Bhasi’s onscreen performances. The more you think about his ‘excursions in drag onscreen’, the more curious it gets. For me, none of the instances of cross-dressing that he did on screen for the characters he did had any significance in taking the narrative forward. It looks like more of  him spelling it out to the director during the script narration ( if ever there was one), “This point in the screenplay seems to be a great excuse for me to dress up in drag. Just plug that in there.” I mean, even after watching and re-watching these movies ( and I am sure there a whole lot more ), for the life of me, I just can’t seem to figure out the “relevance” of that specific drag-act helping the proceedings in any manner. My best presumption is that  it was sheer self-indulgence and nothing else. The unique position he commanded as a brand, ( he was the irreplaceable Next Man to the Hero for close to 3 decades ) and the power and clout that brought with it could have also made it impossible for the director/producer to disagree, is what I think. I could say with a reasonable amount of confidence that there has been no other actor in Malayalam cinema who has put himself in the tunics that Adoor Bhasi did in the screen roles they brought to life onscreen. This has been a unique phenomenon as far as an actor is concerned in Malayalam cinema. The “Why” of it beats me. Then again, its just me.

Given below are a few drag-acts that come to my mind. I am sure there are a lot more ( with over 800 [?] movies, its a strong possibility), so please do write in.

Cochin Express (1967)

One of the manic detective, crime capers from the late 60′s, in the vein of CID Nazir (1971), Danger Biscuit (1969), Taxi Car (1972) and everything in that class, this had Prem Nazir as the Investigating Officer and Adoor Bhasi as Unnikrishnan Nair, the prime witness to a robbery and murder that takes place in a train – the latter inevitably becoming close friend and Man Friday in the investigation ( duh ! ). As usual, they manage to ‘infiltrate’ the gang’s lair, this time a brothel, where Adoor Bhasi jumps into his drag act to entice the suspected gang leader ( Kottarakkara Sreedharan Nair, with a tonsured head of course ! ). The Dance of Seduction is cringeworthy to look at, and thankfully lasts only for a couple of seconds before Sheela steps in ! Adoor Bhasi stays on for the song Kathayonnu Kettu Njaan / S Janaki, playing the sax interludes for the dance number, but as usual, makes you keep wondering, “why is he doing this?“

Adoor Bhasi in Cochin Express (1967).

{ Check out from 1:27.  }

Kalli Chellamma (1969).

Adoor Bhasi is the part-time Karyasthan of the local feudal chief, the Yajman, and moonlights as a Kakkarissi artiste (though there is only one instance in the movie, sadly). It is not that I dislike Adoor Bhasi in the folk song, its just that it might as well be another artiste who is one in the real world, and we wouldn’t have even missed him. This song seems to be MG Radhakrishnan‘s debut as a Playback singer too ( correct me if I am wrong ). So there, Adoor Bhasi gets a song picturised in drag, in a P Bhaskaran film.

Adoor Bhasi in Kalli Chellamma (1969)

Rest House (1969)

Another mad-caper from the KP Kottarakkara – Sasi Kumar team which I firmly believe was a story built around 8 fantastic songs. Adoor Bhasi does a double role of Professor Das and “Beatle” Appu ( probably the only direct homage to the Fab Four in Malayalam Cinema ). Adoor Bhasi ( as Professor Das ) lands up with his bunch of male students in the same hill-station Rest House where Meena (Professor Laxmi) is staying with her group of students, and it isn’t before long that sparks begin to fly, and each one begins to woo one from the other camp, including the professors themselves. The boys in drag, “successfully” infiltrate the girls’ dormitory ( what a great excuse ! ) and Adoor Bhasi as usual leads the pack in the role of the Granny whose daughters the rest profess to be.

Adoor Bhasi in Rest House (1969)

{Check out from 4:00.}

Taxi Car (1972)

Considered as the un-official sequel to his CID Nazir , the screenplay of Taxi Car (1972) was by Sreekumaran Thampi. The  movie more or less  follows the CID films format, with Adoor Bhasi the official Man Friday to the Prem Nazir’s Investigating Officer. In a scene reminscent of CID Nazir with its exotically fancy gadgets, Adoor Bhasi steals a moment to dress up in drag and manage to pull out a Satellite phone and report to the control room on the movements of their mark. And I watch it and think, it would have been perfectly fine if he had been dressed normal too .

Ara Kallan, Mukkaal Kallan (1974).

Ara Kallan, Mukkaal Kallan (1974) was directed by P Bhaskaran, a total Vadakkan Pattukal-esque costume drama which is quite interesting for the director whose ther releases for the year was Oru Pidi Ari and Thacholi Marumakan Chanthu, another Northern Ballads story. Both Ara Kallan, Mukkaal Kallan and Thacholi Marumakan Chanthu were scripted by N Govindankutty for P Bhaskaran. As Mukkaal Kallan, the separated-at-birth of Prem Nazir ( Ara Kallan ), Adoor Bhasi does the tried and tested method of stealing into the Princess’s Royal Bath in the way he knows best, in drag.

Maybe, N Govindankutty who did the screenplay of the movie, employed the easiest route available, a modus operandi which we have got quite used to, from his Vadakkan Pattukal scripts . Both the brothers are after  a hidden treasure whose details are in the locket of the Princess’s jewellery, and Adoor Bhasi takes the “obvious” way out.

Adoor Bhasi in Ara Kallan, Mukkaal Kallan (1974)

{Check out from 5:50.}

Kannappanunni (1977)

The Leading Man and the Next Man are it again, this time in a full-blown Vadakkan Paattukal costume drama from Udaya Studios, directed by the one and only M Kunchacko. The excuse is the same – access by stealth and drag into the Princess’s  Quarters, but compared to the blink-and-disappear operation in Ara kallan Mukkaal Kallan (1974), this is a slightly extended operation – more akin to Arjuna’s Brihannala act, just stopping short of teaching dance to the Princess and her entourage, they live in the Princess’s quarters, along with her maid servants as one of them. Prem Nazir as Kannappanunni is there to make the Princess Ponni (Sheela as the man-hater princess ) love him, Adoor Bhasi who plays Thankakkudom his dear buddy (duh ! ) is also in drag to offer support .

Ithikkara Pakki (1980)

With Ithikkara Pakki (1980), it wasn’t any different. And like in Kalli Chellamma (1969), Adoor Bhasi gets to do a song in drag.With good partner onscreen Prem Nazeer as Ithikkara Pakki disguised as the young bride, Adoor Bhasi sits in as the Mother who wants to marry her off to the local feudal heavy weight, Beeraan, a much-married aging warhorse at that. It is interesting and a bit of consolation to note that Jayan who is the aging singer in disguise chose to stick to a flowing beard than flowing chiffon.

Adoor Bhasi in Ithikkara Pakki(1980)

So, there.Looking at Adoor Bhasi’s performances, whether it was leaned more towards performance or personal fulfillment, we may never know.But the fact that, as a film actor, he owns a special place in the choice of roles he brought to life onscreen can never be disputed.

I am sure there are much more than the ones above that you might recall.

Please do write in.

Kusalakumari as Sita (1960)

പക്ഷെ സീതയുടെ വിധി മറ്റൊന്നാകുന്നു. കാമമോഹിതനായ കാമുകനായി ദശമുഖന്‍ അവളെ പ്രാപിയ്ക്കാനും സ്വന്തമാക്കാനും ഒരുങ്ങുന്നു. പതിവ്രതാ രത്നമായ സീത കഠിന പരീക്ഷകളെ അതിജീവിച്ച് ദശമുഖ നിഗ്രഹം കഴിച്ചു തന്റെ പ്രിയതമന്‍ തന്നെ രക്ഷപ്പെടുത്തി എടുക്കുന്നത് വരെ ലങ്കയില്‍ കഴിയുന്നു.വിജയശ്രീലാളിതരായി അയോധ്യയില്‍ തിരിച്ചെത്തുന്ന ദമ്പതിമാരെ വിധി വീണ്ടും പിന്തുടരുകയാണ്. ഗര്‍ഭിണിയായ സീതയ്ക്ക് തന്റെ പാത്രിവൃത്യ ശുദ്ധി തെളിയിക്കണം. രാവണന്റെ കോട്ടയിലെ താമസം റാണിയ്ക്ക് കളങ്കമുണ്ടാക്കിയിട്ടില്ലെന്നു പ്രജകളെ ബോദ്ധ്യപ്പെടുത്തണം. സീത അഗ്നിപരീക്ഷയ്ക്ക് തയ്യാറായി വിജയിക്കുന്നു. പക്ഷെ ആയിരം നാവുകളെ തടഞ്ഞു നിര്‍ത്താന്‍ അഗ്നിശുദ്ധിയ്ക്ക് പോലും സാധിക്കുന്നില്ല, ഗര്‍ഭിണിയായ സീതയെ രാമന്‍ കൌശലത്തോടെ കാട്ടിലുപേക്ഷിക്കുന്നു. വാല്മീകി മഹര്‍ഷിയുടെ ആശ്രമത്തില്‍ അവള്‍ ഇരട്ടക്കുട്ടികളുടെ അമ്മയാവുന്നു. കാലങ്ങള്‍ക്ക് ശേഷം മഹാരാജാവായ രാമന്‍ മക്കളെ തിരിച്ചറിയുന്നു, അവരുടെ അമ്മയെയും. പക്ഷെ ഒരു യുഗത്തിന്റെ യാതന അനുഭവിച്ചു കഴിഞ്ഞ സീത തന്റെ അമ്മയായ ഭൂമിദേവിയോട് തന്നെ തിരിച്ചെടുക്കാന്‍ അപേക്ഷിക്കുന്നു. ഭൂമി പിളര്‍ന്നു സീത അന്തര്‍ധാനം ചെയ്യുന്നു.ഇതാണ് വളരെ ചുരുക്കത്തില്‍ സീതയുടെ കഥ.

കാലാകാലങ്ങളായി ജീവിതത്തിന്റെ നിരവധി സന്നിഗ്ധാവസ്ഥകളില്‍ കണ്ണീരോടെ നില്‍ക്കുന്ന സ്ത്രീകളെ സീതയുമായി ബന്ധപ്പെടുത്തി ഉപമിയ്ക്കാറുണ്ട് . പാതിവൃത്യത്തിന്റെ, മനസ്സുറപ്പിന്റെ, കണ്ണുനീരിന്റെ എല്ലാം പ്രതീകമാണവള്‍ . അടിമയുടെ, ചതിക്കപ്പെടുന്നവളുടെ , അപമാനിക്കപ്പെടുന്നവളുടെ പ്രതിബിംബം കൂടിയാണവള്‍ . ഏറ്റവും കൂടുതലായി അവള്‍ സര്‍വ്വംസഹയാണ്. അവളുടെ അമ്മയായ ഭൂമിയെപ്പോലെ സര്‍വ്വംസഹ. ഒരു ജീവിതകാലം മുഴുവന്‍ ആരെയൊക്കെയോ പ്രീതിപ്പെടുത്തുവാന്‍ സ്വന്തം ജീവിതം ദാനം നല്‍കിയ പാവം സീത. ജീവിതത്തിന്റെ വിവിധ ഘട്ടങ്ങളില്‍ സീതയായി മാറുന്ന നായികമാരെ മലയാള സിനിമ എങ്ങനെയാണ് ആവിഷ്കരിക്കുന്നത്? സിനിമാഗാനങ്ങളിലെ വരികള്‍ക്കുള്ളില്‍ സീത എന്ന ശാപജന്മത്തെ എങ്ങനെ സന്നിവേശിപ്പിച്ചിരിക്കുന്നു? ഒരന്വേഷണം.

സീത എന്ന പേരില്‍ത്തന്നെ അന്തര്‍ലീനമായ ദുഃഖത്തിന്റെ ആഴക്കടല്‍ – സ്വാഭാവികമായും ഒരു ഉപമ ദു:ഖസ്ഥായിയായിരിക്കും. അതി ദുര്‍ഘടമായ ആത്മസംഘര്‍ഷം അതിനു മേല്‍ തീമാരി ചൊരിയും സീതയുടെ കുട്ടിക്കാലം. അവളുടെ സ്വയംവരം, കന്യാദാനം, അയോധ്യയിലെക്കുള്ള യാത്ര – തുടങ്ങി മക്കളെ അച്ഛനെ ഏല്‍പ്പിച്ചു സ്വമാതാവിന്റെ ഗര്‍ഭപാത്രത്തിലേക്ക് തിരിച്ചു പോകുന്നത് വരെയുള്ള സീതയുടെ കഥയെ മലയാള സിനിമാഗാനങ്ങളില്‍ തിരയുകയാണ്.

 സീത (1960)

1960 ല്‍ സീത എന്ന മലയാള ചിത്രം ഉദയാ സ്റ്റുഡിയോ നിര്‍മ്മിച്ചു. അതില്‍ സീതയുടെ മുന്‍പറഞ്ഞ ജീവിതകഥ ഉണ്ട്. പാട്ട് പാടി ഉറക്കാം എന്ന ഹിറ്റ്‌ ഗാനത്തിന്റെ പിറവിയും ഈ സിനിമയിലാണ്.

പാട്ട് പാടി ഉറക്കാം.

കലിയുഗം (1973)

‘കലിയുഗം’ എന്ന സിനിമയിലെ ‘ഭൂമി പെറ്റ മകളല്ലൊ സീതപ്പെണ്ണ്‍ ‘ എന്ന ഗാനം മുതല്‍ നമുക്ക് നോക്കാം. മലയാള സിനിമാഗാനങ്ങളില്‍ സീത എവിടെയൊക്കെ പ്രത്യക്ഷപ്പെടുന്നു എന്ന്. ഈ ഗാനത്തില്‍ സീതയെ ഒരു നാടന്‍ പെണ്ണിന്റെ മട്ടിലാണ് കാണുന്നത്. സീതപ്പെണ്ണ്‍ – രാമന്റെ പെണ്ണ്, ആ പെണ്ണിന് എന്തൊക്കെ സംഭവിച്ചു? ഒരു നാട്ടിന്‍ പുറത്തുകാരിയായ ഭര്‍തൃമതിയെ മറ്റൊരുത്തന്‍ തട്ടിക്കൊണ്ടു പോവുക, അവള്‍ തിരിച്ചുവന്നു ഗര്‍ഭിണിയാണെന്ന് പൊതുജനം അറിയുക. എന്തെല്ലാം പുകിലാണ്! ഒരു ഗ്രാമപെണ്ണിന്‍ ജീവിതത്തിലേക്കുള്ള പൊതുജനശ്രദ്ധയും വികാരവുമാണ് ഈ ഗാനം പ്രകടമാക്കുന്നത്. ഇതിന്റെ ചിത്രീകരണം തന്നെ നോക്കുക. ഞാറ്റുപാടത്ത് പണിക്കാരിപ്പെണ്ണുങ്ങള്‍ ഞാറ്റു പാട്ട് പാടുകയാണ്. അതീവ മാനസിക സംഘര്‍ഷവുമായി നായകന്‍ വരമ്പത്തുണ്ട്. പാട്ടിലെ സീതപ്പെണ്ണ് നാം കാണാത്ത അതിലെ നായികയാണെന്നും, അവളുടെ ജീവിതകഥ -അതൊരു ദുരന്തകഥ ആവാനാണ് സാധ്യത- നാട്ടുകാരെല്ലാം പറയുന്നുവെന്നുമാണ് പാട്ടിലൂടെയുള്ള ധ്വനി.

ഭൂമി പെറ്റ മകളല്ലൊ സീതപ്പെണ്ണ്‍.

അയലത്തെ സുന്ദരി (1974)

സീതാസ്വയംവരം,ഒരുപക്ഷെ ഈ ലോകത്തിലെ തന്നെ ഏറ്റവും സുന്ദര നിമിഷങ്ങളുടെ വര്ണ്ണനയാവും അത്. മിഥിലാപുരിയുടെ പ്രിയദര്‍ശിനിയ്ക്കാണ് സ്വയംവരം. സ്വയംവരത്തില്‍ പങ്കെടുക്കുവാന്‍ ശ്രീരാമന്‍ എത്തുന്നുവെന്ന് അവള്‍ അറിഞ്ഞിരിക്കുന്നു. പട്ടുമഞ്ചത്തില്‍ അലങ്കരിച്ചു വച്ചിരിക്കുന്ന ത്രയംബകം എടുത്തു വലിച്ച് കുലച്ച് ഒടിച്ചാല്‍ മാത്രമേ സീത ആ വീരനെ സ്വയംവരമാല്യം ചാര്ത്തൂ. പലരും വന്നിരിക്കുന്ന രാജാക്കന്മാരോക്കെ ശ്രമിച്ചിട്ടും വില്ലൊന്ന് ഉയര്‍ത്തുവാന്‍ പോലും സാധിക്കുന്നില്ല. അവസാനം സൂര്യതേജസ്സോടുകൂടിയ രാമന്‍ നിഷ്പ്രയാസം വില്ലെടുത്തു കുലച്ചൊടിയ്ക്കുന്നു. ത്രേതായുഗം തന്നെ കുളിരണിഞ്ഞ നിമിഷം, ഹര്‌ഷാശ്രുക്കള്‍ക്കിടയിലൂടെ സീത രാമനെ കാണുന്നു. മൂവുലകും വന്നു പൂവും പ്രസാദവും വര്‍ഷിക്കുന്നു. എങ്ങും ഉത്സവലഹരിയാണ്. ‘ത്രയംബകം വില്ലൊടിഞ്ഞു, ത്രേതായുഗം കുളിരണിഞ്ഞു‘ എന്ന ഗാനം – മനോജ്ഞമായ സീതാസ്വയംവര കഥനം.

ത്രയംബകം വില്ലൊടിഞ്ഞു, ത്രേതായുഗം കുളിരണിഞ്ഞു

ഊഞ്ഞാല്‍ (1977)

വിവാഹാഘോഷമെല്ലാം ഒരുവിധം പൂര്‍ത്തിയാക്കി രാമന്‍ സീതയേയും കൊണ്ട് അയോധ്യയിലേക്ക് പുറപ്പെടുകയാണ്. മിഥിലാപുരി ആഹ്ലാദാരവങ്ങള്‍ ഒഴിഞ്ഞു സീതാവിരഹത്തിന്റെ കണ്ണീരൊഴുക്കുവാന്‍ തുടങ്ങുകയാണ്. ഹൃദയഭേദകമാണ് മകളുടെ വേര്പാടെങ്കിലും അവളെ ഭര്‍തൃഗൃഹത്തിലേക്ക് അയച്ചേ മതിയാവൂ ജനകനും പരിവാരങ്ങള്‍ക്കും. സുമന്ത്രര്‍ തെളിയ്ക്കുന്ന തേരിലതാ  സുസ്മേരവദനയായി, സുന്ദര സ്വപ്നങ്ങളുമായി സീതാദേവി ഇരിക്കുന്നു. കുതിരകള്‍ ആജ്ഞയനുസരിച്ച് അയോധ്യ ലക്ഷ്യമാക്കി കുതിയ്ക്കുകയാണ്. വഴിനീളെ ജനസമുദ്രം രാജകുമാരിയ്ക്ക് ദീര്‍ഘസുമംഗലീവരം നേരുകയാണ്. കുറച്ചു ദൂരം ചെന്ന രഥം പെട്ടന്ന് നില്‍ക്കുന്നു. മുന്നിലതാ ഇഹപരത്തിലെ മുഴുവന്‍ ക്രോധവും ഉയിര്‌കൊണ്ട പോലെ മഴുവുമേന്തി ഭാര്‍ഗവരാമന്‍ ! തന്റെ ഗുരുവിന്റെ വില്ലൊടിച്ച ക്ഷത്രിയകുമാരനെ വകവരുത്തിയെ അടങ്ങൂ. ഐ. വി. ശശി സംവിധാനം ചെയ്ത ‘ഊഞ്ഞാല്‍ (1977)’ എന്ന ചിത്രത്തിലാണ്‌ ‘ശ്രീരാമ ചന്ദ്രന്റെയരികില്‍ ‘ എന്ന സുന്ദരഗാനം സീതയെ നവവധുവായി ചിത്രീകരിയ്ക്കുന്നു. അവളുടെ ജീവിതത്തിലെ ആദ്യ പരീക്ഷണമെന്നും ഭാര്‍ഗവരാമ ദര്‍ശനത്തെ വിളിക്കാം. നായിക പരീക്ഷണങ്ങളിലേക്ക് ആദ്യച്ചുവട്‌ വയ്ക്കുന്നുവെന്ന ധ്വനി.

ശ്രീരാമ ചന്ദ്രന്റെയരികില്‍.

വാഴ്വേമായം (1970)

“സീതാദേവി സ്വയംവരം ചെയ്തൊരു ത്രേതായുഗത്തിലെ ശ്രീരാമന്‍” മലയാളത്തിലെ എക്കാലത്തെയും പ്രിയഗാനങ്ങളില്‍ ഒന്നാണ്. സീത എന്ന വ്യക്തിയുമായി ഈ ഗാനത്തിന് നേരിട്ട് ബന്ധമില്ല. ഏതെങ്കിലും രീതിയില്‍ ഇതില്‍ സീതയുടെ വികാരവിചാരങ്ങള്‍ നായികയില്‍ പ്രതിബിംബിയ്ക്കുന്നുമില്ല . സീതാദേവി സ്വയംവരം ചെയ്ത ശ്രീരാമനെ ആണ് ഇതില്‍ നായിക തന്റെ നായകനില്‍ കാണുവാന്‍ ശ്രമിയ്ക്കുന്നത്. കല്ലായി  മാറിയ അഹല്യയെ കാല്‍വിരല്‍ കൊണ്ട് തൊട്ടു ജീവിതത്തിലേക്ക് മടക്കിക്കൊണ്ടുവന്ന ശ്രീരാമനെപ്പോലെ, തന്റെ പ്രിയന്റെ വിരലുകള്‍ തൊട്ടാല്‍ ചിലപ്പോള്‍ നര്‍ത്തകി പ്രതിമയ്ക്ക് ജീവന്‍ വയ്ക്കുമോ എന്നാണു അവളുടെ ആശങ്ക. അങ്ങനെയങ്കില്‍ അവന്റെ സ്നേഹത്തിനു പങ്കാളിയായി ഒരാള്‍ കൂടി എത്തുമോ എന്ന ആകുലത അതിമനോഹരമായി ചിത്രീകരിച്ചിരിക്കുന്ന ഗാനം.

സീതാദേവി സ്വയംവരം ചെയ്തൊരു ത്രേതായുഗത്തിലെ ശ്രീരാമന്‍

കള്ളിച്ചെല്ലമ്മ (1969)

സീത എന്ന പേര് നമുക്ക് നല്‍കുന്ന വിരഹിണിയുടെ ചിത്രം അവളുടെ മറ്റേതു ഭാവത്തിലുമുപരിയായി തെളിഞ്ഞു നില്‍ക്കുന്നു. അശോകവനത്തില്‍ ശ്രീരാമനായി കാത്തിരിക്കുന്ന സീതാദേവി. അഴകിയ രാവണനെ അവള്‍ ഒരു തൃണമായാണ് കാണുന്നത്. പ്രലോഭനങ്ങളിലും ഭീഷണികളിലും വീഴാതെ അവള്‍ രാമനെ കാത്തിരിക്കുന്നു. ‘അശോകവനത്തിലെ സീതമ്മാ ‘ എന്ന ഗാനം കള്ളിച്ചെല്ലമ്മ എന്ന ചിത്രത്തിലെതാണ് . നായിക വിരഹിണിയാണ് . കരം പിടിക്കാന്‍ രാമന്‍ എത്തുമോ അതോ അഴകിയ രാവണനു അവള്‍ വഴിപ്പെടേണ്ടി വരുമോ എന്ന ആശങ്ക വിരഹത്തെക്കാളുപരി അവളെ ഭരിക്കുന്നു. എഴുവരികളും എഴക്ഷരവും തള്ളി അവള്‍ രാമായണം പകുത്തു വായിച്ചു നോക്കുന്നു. തുഞ്ചന്റെ പൈങ്കിളിയെക്കൊണ്ട് അവള്‍ താളിയോല എടുപ്പിച്ചു നോക്കുന്നു. ആകാംക്ഷയും ആധിയും ഒഴിയുന്നില്ല. ഗാനം തീരുമ്പോള്‍ നായിക വീണ്ടും ആത്മസംഘര്‍ഷത്തില്‍ത്തന്നെ.

രാത്രിയിലെ യാത്രക്കാര്‍ (1976)

അശോകവനത്തിലെ സീതയുടെ ആത്മനൊമ്പരത്തിന്റെ നേര്‍ചിത്രമാണ് അശോകവനത്തില്‍ പൂവുകള്‍ കരിഞ്ഞു(രാത്രിയിലെ യാത്രക്കാര്‍ ) എന്ന പാട്ട്. സ്വയം സീതയായി സങ്കല്‍പ്പിക്കുന്ന നായിക, മനസ്സും മിഴിയും ആത്മാവും കൊണ്ട് തന്റെ രാമനെ കരഞ്ഞു വിളിക്കുകയാണ്‌. രാക്ഷസ രാജാവിന്റെ ഇംഗിതത്തിനു വഴങ്ങാന്‍ ഇടവരും മുന്‍പ്‌ അവളുടെ പ്രിയതമന്‍ എത്തിച്ചേരുവാനുള്ള മുറവിളി. ഇരുട്ടിന്റെ മുന്‍പില്‍ വിറയ്ക്കുന്ന സന്ധ്യപോലെ അവളെ പ്രാപിക്കാന്‍ ഒരുക്കം കൂട്ടുന്ന കശ്മലന്റെ മുന്നില്‍ നിന്ന് വിറയ്ക്കുകയാണ് ആ പാവം. പ്രാണന്‍ പിടയുന്ന അവളുടെ രോദനം രാമന്‍ കേള്‍ക്കുമോ? മാധുരി വളരെ വികാര തീവ്രമായി പാടിയിരിക്കുന്ന ഈ ഗാനം മാധുരിയുടെ ശോകഗാനങ്ങളില്‍ മികച്ചത് കൂടിയാണ്.

അശോകവനത്തില്‍ പൂവുകള്‍ കരിഞ്ഞു.

 തറവാട്ടമ്മ (1966)

ത്രയംബകം വില്ലൊടിച്ച് സീതയെ സ്വന്തമാക്കിയ രാമന്‍, ഭാര്യയായത് മുതല്‍ അഗ്നിപരീക്ഷകള്‍ മാത്രം നേരിടേണ്ടി വന്ന നിരപരാധിയായ സീത. അവള്‍ ചെല്ലുന്നിടമെല്ലാം കുഴപ്പങ്ങള്‍. രാമനാമം മാത്രം ജപിച്ച് ഭര്‍തൃ പാദങ്ങള്‍ മാത്രം മനസ്സില്‍ ധ്യാനിച്ച്‌ കഴിഞ്ഞ സീതയ്ക്ക് എന്തുകൊണ്ടാണ് പരീക്ഷണങ്ങള്‍ മാത്രം വിധി കരുതി വച്ചത്? കൊടും യുദ്ധത്തിനു ശേഷം അയോധ്യയിലെത്തിയിട്ടും അവള്‍ക്കു മനസ്സമാധാനമില്ല. സന്തോഷമില്ല. രാമന്‍ രാജാവാണ്. റാണിയെപ്പറ്റി ആള്‍ക്കാര്‍ അതുമിതും പറയുന്നു. രാജാവിന് രാജ്യമാണ് വലുത്. പ്രജകളാണ് വലുത്. രാജധര്‍മ്മമാണ് വലുത്. നിഷ്കളങ്കയായ സീത അവളറിയാതെ കാട്ടില്‍ പരിത്യജിക്കപ്പെടുന്നു. അവള്‍ ഗര്‍ഭിണിയാണ്. ഇത്തരം ഒരു കഥാ സന്ദര്‍ഭമാണ് തറവാട്ടമ്മ എന്ന ചിത്രത്തിലെ ‘മറ്റൊരു സീതയെ കാട്ടിലേക്കയയ്ക്കുന്നു ‘ എന്ന കമുകറ പുരുഷോത്തമന്‍ പാടിയ പ്രസിദ്ധ ഗാനം. ഇതില്‍ രാമന്റെ ആത്മസംഘര്‍ഷമാണ് നായകനിലൂടെ അനാവരണം ചെയ്യപ്പെടുന്നത്. മനസ്സാക്ഷിയും കര്‍മ്മവും തമ്മിലുള്ള പടയില്‍ പരുക്കേറ്റു പിടയുന്നത് പ്രിയപത്നിയാണ്. നായകന്‍ വിഷണ്ണനാണ്. രാമനല്ലല്ലോ നീ രാജാവുമല്ലല്ലൊ, കേവലനാമൊരു മനുജന്‍ എന്ന് അശരീരി ഓര്‍മ്മപ്പെടുത്തുമ്പോള്‍ അത് വെറും അശരീരിയല്ല ആത്മവിലാപം തന്നെ. മറ്റുള്ളവരുടെ മുന്നില്‍ മുഖം രക്ഷിക്കുവാന്‍ സ്വന്തം ജീവിതം നഷ്ടപ്പെടുത്തുന്നവര്‍ക്കൊരു മുന്നറിയിപ്പും.

മറ്റൊരു സീതയെ കാട്ടിലേക്കയയ്ക്കുന്നു.

സംഗമം (1977)

ഈ ചിത്രത്തിലെ സീതാദേവി ശ്രീദേവി എന്ന ഗാനം അത്ര ജനപ്രിയമായില്ല എങ്കിലും എഴുപതുകളുടെ ഒടുവില്‍ മലയാള ചലച്ചിത്ര ഗാനങ്ങള്‍ ഗൌരവമായെടുത്തിരുന്നവര്‍ക്ക് ഈ ഗാനം ഒരു പ്രിയ ഗാനം തന്നെ. ഇതും പരദൂഷണത്തില്‍ പെട്ട് സങ്കടക്കടലില്‍ വീഴുന്ന സീതാദേവിയെപ്പറ്റിയാണ്. ശങ്കതോന്നിയ ശ്രീരാമന്‍ അവളെ കാട്ടില്‍ ഉപേക്ഷിക്കുന്നു. കൊടും കാട്ടില്‍ അവള്‍ അഭയമന്വേഷിച്ച് അലയുകയാണ്.

അയോധ്യ(1975)

‘രാമന്‍ ശ്രീരാമന്‍‘എന്ന ഗാനം തികച്ചും വ്യത്യസ്തമായ ഒരു കാഴ്ചപ്പാടാണ് രാമനെക്കുറിച്ച് നമുക്ക് നല്‍കുന്നത്. ഭാര്യ നഷ്ടപ്പെട്ട നായകന്‍ സ്വയം രാമനായി ചിത്രീകരിക്കുന്നു. കൈകേയിയും മന്ധരയും കൂടി ചമച്ച കള്ളക്കളിയില്‍ അയാള്‍ക്ക്‌ കുടുംബം നഷ്ടപ്പെട്ടിരിക്കുന്നു. തെറ്റിദ്ധരിക്കപ്പെട്ട അനുജനും അയാളെ വിട്ടു പോയിരിക്കുന്നു. അയാള്‍ അയോധ്യ വിട്ട്, കാനനത്തില്‍ കൈവെടിഞ്ഞ തന്റെ പ്രിയ പത്നിയെത്തെടി അലയുകയാണ്. അവളെ കാണാനില്ല. അവന്റെ മാനസിക നിലതന്നെ തെറ്റിയിരിക്കുന്നു. വഴിനീളെ അവന്‍ പത്നിയെത്തിരഞ്ഞു പലരോടും ചോദിച്ചു പരിഹസിതനാകുന്നു. സഹോദരനെ തിരഞ്ഞു കണ്ണുനീര്‍ വാര്‍ക്കുന്നു.

രാമന്‍ ശ്രീരാമന്‍.

ഒരു സുന്ദരിയുടെ കഥ (1972)

മലയാള സിനിമാഗാനങ്ങളില്‍ വേറിട്ട്‌ നില്‍ക്കുന്ന ഒരു ഗാനമാണ് ഒരു സുന്ദരിയുടെ കഥ എന്ന ചിത്രത്തിലെ പി സുശീല പാടിയ വയലാര്‍ ദേവരാജന്‍ ഗാനമായ ‘സീതപ്പക്ഷി’ എന്ന ഗാനം. വയലാറിന്റെ കാല്‍പനിക ഭാവങ്ങള്‍ എഴുലോകങ്ങളും കടന്നു എഴാകാശവും കടന്നു ചക്രവാളങ്ങളില്‍ പാറിപ്പറക്കുന്ന സീതപ്പക്ഷിയായി മാറുന്നു. നായികയ്ക്ക് മനം നിറയെ വരാന്‍ പോകുന്ന നാളുകളുടെ നിറമാര്‍ന്ന സ്വപ്നങ്ങള്‍. അവയുടെ ബഹിര്സ്ഫുരണങ്ങളാണ് ഗാനമായിത്തീര്‌ന്നിരിക്കുന്നത് . ഏതു സാധാരണ പെണ്‍ കിടാവിന്റെയും വിവാഹസ്വപ്നങ്ങള്‍ , അവളുടെ പ്രിയതമനെ ചുറ്റിപ്പറ്റിയുള്ള പ്രണയ സല്ലാപങ്ങള്‍, ശ്രിംഗാര ചേഷ്ടകള്‍ , മധുവിധുനാളുകളുടെ മദിര പതഞ്ഞൊഴുകുന്ന പാനപാത്രം. കല്യാണ വില്ലുകുലച്ച് ചുണ്ട് കൊണ്ട് മുത്തണിയിച്ചു അവളെ സ്വന്തമാക്കാന്‍ രാമനെത്തും. നായകന്‍ രാമനെങ്കില്‍ നായിക സീതയല്ലാതെ മറ്റാര് ?

നമുക്ക് യഥാര്‍ത്ഥ സീതയിലേക്ക് തന്നെ തിരിച്ചു വരാം . മണ്ണിന്റെ മകളായ് ജനിച്ചു മണ്ണില്‍ മറഞ്ഞ സീത. ലോകത്തിനവള്‍ സഹനത്തിന്റെ മാതാവ്. പാതിവൃത്യത്തിന്റെ നേര്‍ചിത്രം. നന്മയുടെ മഞ്ജീരധ്വനി. യുഗങ്ങള്‍ക്കിപ്പുറത്തും അവളുടെ കണ്ണീരിന്റെ പുനര്‌ജന്മങ്ങളായി എത്രയോ സ്ത്രീകള്‍ ! അവളുടെ ഓര്മ ഉണരാതെ ദിനരാത്രങ്ങള്‍ ഇല്ല . ഭാരതം അവളെ ഇനിവരും യുഗങ്ങളില്‍ പോലും വാഴ്ത്തിപ്പാടും എന്നാണു ‘സീത’ എന്ന ചിത്രത്തിലെ ‘സീതേ ലോകമാതെ’ എന്നാ പി ബി ശ്രീനിവാസ് ഗാനം നമ്മെ ഓര്‍മ്മിപ്പിക്കുന്നത്.

സീതാ കല്യാണ വൈഭൊഗമെ എന്നാ മംഗള ഗാനം പല ചലച്ചിത്രങ്ങളിലും വിവാഹരംഗങ്ങളില്‍ കേള്‍ക്കാം. ഭാരതത്തില്‍ ഭാര്യാഭര്‍തൃ സങ്കല്‍പ്പത്തില്‍ സീതാരാമാന്മാരെ കവിഞ്ഞു മറ്റാരുമില്ല. അവരെപ്പോലെ പരസ്പരം സ്നേഹിച്ചു ജീവിക്കാനുള്ള പ്രാര്‍ഥനയാണ് ഈ ഗാനം.

പതി തന്നെ പരദൈവം എന്ന് ജപിച്ചു ജീവിച്ചു പരീക്ഷണങ്ങളില്‍ മാത്രം അകപ്പെട്ടു, അവസാനം പതിയാല്‍ പരിത്യക്തയായി പ്രാണന്‍ ഉപേക്ഷിച്ച സീതയെ ആധുനിക പെണ്‍കുട്ടികള്‍ക്ക് അത്ര മതിപ്പ് കാണില്ല . ഒരു ജീവിതം ലഭിച്ചതില്‍ രക്തസാക്ഷിയാകാന്‍ അവര്‍ തയാറാകുമോ എന്ന് ഉറപ്പില്ല . എങ്കിലും സീത സീതയാണ്. അവള്‍ക്കു തുല്യയായി ലോക ചരിത്രത്തില്‍ തന്നെ ആരുമില്ല . കണ്ണുനീരിനും ദുഃഖത്തിനും പര്യായമായി അവള്‍ നിതാന്തയായി നിലകൊള്ളുന്നു.

The P Bhaskaran Foundation, based out of Kodungallur, is paying tribute to arguably the greatest combination of “Poet, Playwright, Lyricist, Actor, Broadcaster, Cine Director, Film Producer, T.V. Producer, Tele-caster, Intellectual and a Humanist” from Kerala on 25th February 2013, 4 pm onwards at the Police Station Grounds, Kodungallur.

Once again,

When : 25 February 2013, 4 pm onwards

Where : Police Station Grounds, Kodungallur.

The event would felicitate Dr KJ Yesudas, with the P Bhaskaran Puraskaaram by the foundation, which would be followed by a tribute concert that celebrates the best of P Bhaskaran’s onscreen masterpieces, led by Rakesh Brahmanandan and P Susheela Devi.

Stalwarts from the Malayalam film industry including Sreekumaran Thampi, MK Arjunan, John Paul, Director Kamal and a host of other popular personalities are expected to grace the occasion.

One of my favorites from Bhaskaran Master -  Kaatile Paazhmulam Thandil.

If you are at Kodungallur next week, try not to miss it.

Sarada and Baby Sumathi in Nadhi (1969)

Children love stories. It is a great way to calm them down after a hectic day, and to get them to eat, or to get them to sleep. As a child, my Mum and my older sister told me stories, be it from the Bible (Mum), or from literary classics like Jane Eyre or the Count of Monte Christo (adapted deftly to a five-year-old’s level of understanding by my sister). It would be told in instalments every night, and much like a reality TV show of today, would finish for the day frustratingly at the most interesting and suspenseful moment – “The rest tomorrow” (ബാക്കി ഇനി നാളെ). No amount of cajoling or crying would help in getting the rest of the story that day. So it was a nail-biting anxious wait for the next evening for the story to resume, dreading the end of the story – “That is all” (അത്തറേ …. ഒള്ളു! in that funny sing-song childish way). This instalment, I dedicate to both my mum and my sister, for sparking my interest in reading from a very early age, to discover new fictional worlds, to meet new fictional characters, and to feel their emotions through the words printed on pages in black and white.

In Malayalam movies, there are many songs narrating such vivid tales of adventure, romance and horror for children. I would like to share a few of my favourites with you here.

1. Vellilakkingini Thaazhvarayil from Kaakkathampuraatti (1970)

This is the story of an innocent frisky lamb, who, unfortunately strayed into the path of a hungry, ferocious wolf. Penned by Sreekumaran Thampi, with perky music by K Raghavan, rendered in P Jayachandran‘s voice which changes from fun to pathos in moments, this is first on my list.

2. Daivaputhranu Veedhi  from Ara Naazhika Neram (1970)

The fascinating story of John the Baptist, told by the Vayalar – Devarajan team in partnership with melody queen P Susheela told as a lullaby. This song touches on politics, intrigue, revenge and murder, with dancer Salome demanding John’s head to be presented to her on a silver platter, all because he was publicly calling for a corruption-free rule.

3. Panchathanthram Kadhayile  from Nadhi (1969)

A small bird yearns  for unrequited love from a majestic Vaanampaadi soaring high in the sky. Will her dreams ever be fulfilled? Another Vayalar – Devarajan – P Susheela hit from the evergreen classic movie Nadhi (1969). All songs from this movie were hits , and still hold a loving place in the hearts of all Malayali Cinema lovers.

4. Yakshiyambalamadachu  from Gandharvakshethram (1972)

This song is for kids who love scary stories. The myth about the lady in white, the dreaded Yakshi, who glides along in dark forests in search of lonely travellers to seduce, enticing them to their eventual death under the infernal Yakshi palm ( Yakshippana ). Ughhh! Sends shivers down my spine just thinking about it! This is, unsurprisingly, another Vayalar – Devarajan – P Susheela classic from Gandharvakshethram (1972). Most songs from this movie were super hits, and are still popular.

5. Padinjaaroru Paalaazhi from Chakravaakam (1974)

Explaining the solar system to a child is difficult – but not for Vayalar. In this song he talks about the sun, the moon, the stars and the Milky Way, their movement and their beauty. Music is by Shankar-Ganesh. Dr KJ Yesudas‘s strong story-telling ability is supported by Latha Raju with her voice over for the child on screen. Poor Latha Raju, in spite of her beautiful singing voice and great talent, was relegated to singing in children’s voices even when she was well into adulthood. She has given us many memorably lovable sweet songs like Makkathu Poy Varum, Onnaamtharam Balloon Tharaam, Chippee Chippee Muthuchippee, Aaluvaappuzhaykkakkare, Manjakkilee Swarnnakkilee etc.

*Honorable Mention*

Kizhakku Dikkile Chenthengil  from Aadyakiranangal (1964)

This song is a particular favourite of mine, not just because of the rustic charm of the lyrics by P Bhaskaran evoking images of red and orange sunrise, a starry sky, white clouds floating in the blue sky, and the dark clouds and thunder of a monsoon storm. I love this song for the sweet endearing cherub of a baby on screen in the video, enjoying the rhythm of K Raghavan‘s folk tunes with an angelic smile on his face – Bhaskaran Master‘s son himself. The singer is AP Komala. I have been unable to find the name of the dancing child artist.

The Honor Roll.

{ Just couldn’t help listing these }

Aniyam Maniyam  from Pani Theeraatha Veedu (1972) .

Thamasaa Nadiyude from Danger Biscuit (1969)

Kaakkaykkum Poochaykkum from Pakalkkinaavu ( 1966)

Mannaankattayum Kariyilayum  from Bhaagyamudra (1968)

Murivaalan Kurangachan  from Anweshichu, Kandethiyilla (1967)

There are so many more !

Please share your favourites.

Two decades have passed since  Manichithrathazhu  ( 1993 ) was released. But Nagavalli, with her fiery eyes and supernatural prowess, remains vivid in our minds. However, this movie was not about a bloodthirsty spirit coming alive. It was about a mental disorder that goes by the name of dissociative identity disorder (multiple personality disorder) – a disorder that in the Indian context, has often been looked upon as spiritual possession. DID is complex in its origin, development and manifestations. Movies could go a long way in our understanding of such complex mental disorders if they are portrayed in the light of causative factors. A mental illness, woven into the fabric of a story, especially when portrayed as a visual medium, can reach out and create greater impact on the common man. It is in this regard that ‘Manichithra thaazhu’ made its case.

Shobana’s Ganga | Manichitrathazhu (1993)

Ganga is a deeply sensitive child. Her parents put her to the care of her grandmother while they migrate to Calcutta to pursue their career. Ganga yearns for her parents, but there is nothing she can do about it. Being overly sensitive, her mind refuses to accept this predicament. And thus, she dissociates from these negative emotions by subconsciously repressing them and fixating on the folklore, superstition and rituals that dominate her grandmother’s world. The fixation develops into an obsession, for it takes her away from the negativity of the repressed emotions. This personality evolves and becomes her identity from that point in time. The repressed personality remains dormant within her, completely detached from her evolving personality. And thus, Ganga grows up to be this gentle, indrawn character who has a passion for books, poetry and legends.

Shobana remembering the shooting days of Manichitrathazhu

Her subsequent reminder of the repressed personality (alter-ego) comes in when she visits the ‘Madampalli tharavadu’ where she hears the story of Nagavalli, a legendary Bharathnatyam dancer who was killed by Shankaran Thampi, an ancestor. The part about Shankaran Thampi, coming in the way of Nagavalli’s love and desires, evokes in Ganga the same negative emotions that she has run away from. She deeply empathizes with Nagavalli, to the point that the empathy unlocks her alter ego yet again. Each night, her obsession takes her to the ‘Thekkini’, where the life-like portraits of Nagavalli and Shankaran Thampi, the jewellery of the dancer, and all the other remnants of the past, create the perfect environment for her to fixate on Nagavalli, which unlocks her alter ego. The alter ego lashes out powerfully and performs to exhaustion. When Ganga wakes up in the morning, she has no memory of the alter ego. And thus, these two personalities switch from one to the other, each amnesic of the other. Also, they are in total contrast to each other, each with its own postures, gestures and distinct way of talking.

It is not strange that the alter ego speaks in a language alien to her (Tamil). The language must have been imbibed by her subconscious as a part of her childhood fixation to the numerous elements of the external world around her. Mood swings are a characteristic feature of this disorder, which is brilliantly enacted by Shobana (Ganga) in various instances. For instance, the time when the psychiatrist questions the authenticity of Nagavalli’s anklets and gets into a conflict with Ganga. Also, the time when Nakulan denies permission to Ganga to go with Alli to purchase jewellery. These are moments when the mellow Ganga abruptly gives way to the fierce Nagavalli.

The movie is scientific in the way it touches upon the roots of this psychosis as well as the manifestations of it. It portrays a classic case of dissociative identity disorder in its most overt form, which is fair enough.

Ganga’s childhood was fairly in line with the basis for this disorder, except that a much more severe form of stress generally accounts for the origin of these disorders, such as severe physical or sexual abuse in childhood. But that is acceptable. Her first episode of psychosis in school, precipitated by stress, also fits into the scheme. It is the later part that is discordant, for there is no precipitant (marital conflicts could have been depicted as a source of stress). The story is convincing, except that for Ganga to pathologically empathize with Nagavalli, there should have been a precipitant stress.

Apparently, people with dissociative identity disorder switch identity when they are confronted with a stressful situation in real life. But this movie portrayed Ganga’s life with Nakulan as being very smooth and free of stress. In fact, the treatment of this disorder is often directed at removing the precipitant stress and hypnosis can be used as a means of identifying the precipitant stress.

Shobana in Manichitrathazhu (1993)

The movie does have its flaws. The movie depicts Ganga waking up as Nagavalli each night and then moving around the house and the thekkini, singing and dancing at times. If her alter ego’s ultimate intention was to murder Nakulan (whom she visualizes as Shankaran Thampi), she could have done it on any of these nights when he was in deep sleep. The movie does take on a more dramatic and unrealistic turn as Ganga expresses her intent to kill Shankaran Thampi. Ganga’s final psychotic episode, in the form a spectacular Bharathnatyam performance, is purely brought in to add an element of dance to the movie. That her psychosis would permanently disappear if she killed ‘Shankaran Thampi’ is also brought in to give a powerful climax to the movie.

The final psychosis of Ganga.

Mohanlal’s character, to me, was a very absurd and comical portrayal of a psychiatrist. Mohanlal’s treatment approach ( or whatever was written for him by the script-writer) was most ridiculous. It could only have been intended for humour. And thus, with her brilliant acting skills, it was Shobana who ultimately made the movie an unforgettable sensory experience for all of us.

Iruttinte Athmavu – Velayudhan undergoes another exorcism

Malayalam cinema has always been inspired by the complexity of the human mind. Its narrative has been powered by the need to understand man’s innermost drives. It has closely looked at what motivates people and how people go about their lives, driven by these motives. Portrayal of the different personality types that we see around us and the behavior that is unique to each of these has been the central theme of most of these narratives. It is therefore not surprising that a good many Malayalam movies incorporated mental health themes into their storylines.

These movies have treated mental illness as yet another variant path that the human mind takes, when touched upon by circumstances that test its strength. The ingenuity of these movies has been in their portrayal of mental illness as a very natural reaction to adversity. They emphasize how ‘human’ the phenomenon of mental illness is. They do not romanticize or stigmatize mental illness, they empathize with it. These movies have brought us face to face with mental illness- an entity we choose to alienate ourselves from, in the course of our unruffled lives. They have looked at the individual in his/her social context and given us a peek into the inner lives of these individuals and their families, of which we choose to be blissfully ignorant.

By and large, most movies have used these themes as a backdrop for their plot. Some explore the behaviour that characterizes a particular mental illness –  {Vadakkunokki Yanthram (1989), Thanmathra (2005) }. Yet others explore the fragility and inherent sensitivity of minds that easily wander across the thin line that separates ‘normal’ from ‘abnormal’  { Ulladakkam (1991), Novemberinte nashtam (1982) }. These movies bring out the extreme need and craving for love that characterizes certain personality types, and therefore the extreme emotional dependance and vulnerability that they exhibit.

From Vadakkunokkiyanthram (1989)

Some movies have explored mental retardation  { Kakkathollayiram (1991), Sooryamanasam(1992) }. The characters in these movies are portrayed as people who apart from their childish innocence, have immense capability for love (which is often true). This makes us fall in love with these characters. Some have brilliantly explored the manifestations and roots of certain complex mental disorders  - Manichithra thazhu (1993).

In terms of accuracy of portrayal, it is natural that extreme and florid manifestations of the illness are portrayed. However, most do fit into some scientific category of mental health disorder. Contrary to most other regional movies, Malayalam cinema has dealt with mental illness rather seriously and scientifically  - Thalavattam ( 1986 ) is a notable exception !

From Thalavattam (1986).

Perhaps the area where it has failed miserably is on its explorations of psychotherapy. The depiction of a mental health asylum and the brutality of electroconvulsive therapy portrayed in Thalavattam still haunts many of us. And this is quite contrary to the real scenario.This negative portrayal creates a fear of admissions and of therapy. Also, the psychiatrist’s personality and his approach is made rather absurd and eccentric, as was the case with Manichithrathazhu. Probably, a collaboration between the mental health sector and the film industry could contribute to eliminating ambiguity. In this context, it would also be worthwhile to explore the role of some of these films in medical teaching and as psychotherapy.

In the past, these movies have never isolated the mind from its illness- this has been the brilliance of these movies. However, as Malayalam movies become more formula driven, there seems to be a tendency to focus on the formula (the mental illness) in isolation from the mind which has driven the illness – { Bi-polar disorder in Vadakkumnathan (2006), Alzheimer’s disease in Thanmathra (2005)  } –  a mere dramatization of illness, removing from it the human component. This is what we must refrain from.

By and large, these movies have helped us realize that human minds can be most fragile and therefore need to be handled with utomost care. They have forced us to introspect on our own behaviour and also shaped our attitude to mental illness. They have also perhaps increased our sensitivity to the numerous ailing and aching minds that surround us.

It is in this context that I intend to write about how the Unsound Mind has been portrayed in Malayalam cinema, the cinematic liberties the directors/script-writers have taken in either diluting or plain hiding of of certain fundamental aspects which at most times, sadly,  leave the wrong impression in an unsuspecting viewer’s mind. I do hope that these short notes pave way for furthur constructive discussions on the topic and the screenplays, going forward.

First up : Manichitrathazhu (1993)

Pix Credit : sjanaki.net

The late 50′s fifties saw the entry of a 19-year  old singer capturing everyone’s attention with her magical voice, easily traversing thehighest and the lowest  octaves with ease. Sishtla Sreeramamurthy Janaki, popularly now known as S Janaki  had the looks that could light up the silver screen. Yet she chose to stay behind it lending her voice to almost all the leading ladies of her times, across all south Indian movie productions, for starters.

Though her debut ( first released movie) was Citadel’s Magnalanattu Mary (1957) – a duet with PB Srinivas, what shot her into prominence in Tamil was Konjum Salangai (1962). Legend has it that S M Subbiah Naidu, who was in the look out for a singer to sing his challenging song Singara Velanin Deva for the film Konjum Salangai (1962), where the singer had to match or rather compete with the Nadaswaram, was recommended this young lady’s name by none other than P Leela, a  proficient  classical vocalist herself who was offered the song in the first place. With not much of classical training,  young Janaki’s performance got noticed by the South Indian film fraternity.

Singara Velane Deva from Konjum Salangai (1962).

In her early years, her brilliant cover versions of   Lata Mangeshkar’s  songs on stage were quite the rage, and her rendering of Rasik Balama from Chori Chori (1956)  was famous for those times. As I remember,  her first movie as a playback singer in Tamil,  Vidhiyin Vilayaattu unfortunately never saw the light of day.

S Janaki  sang her first song in Malayalam, Irul Moodukayo  for the movie Minnunnathellaam Ponnalla (1957), composed by S N Ranganathan, which was a note-for-note rip-off of Hemant Kumar‘s Mera Dil ye Pukarey !  Post the release of this film, she managed to get a smattering of compositions from V Dakshinamoorthy and K Raghavan, but it was never a steady stream of work as it were, till Ninamaninja Kaalpadukal (1963) and MS Baburaj happened !

When M S Baburaj chose her for his melodies, they formed a natural team that kept churning out hits after hits. There is a third angle too to this team - P Bhaskaran. And most of the hits were from this trio. Out of the 576 film songs that MS Baburaj composed, 128 were sung by S Janaki and 94 of them were solos. Amongst the lyricists, she lent her voice to 235 songs penned by P Bhaskaran ( the highest ).

The beginning of their collaboration was a quite auspicious one, so to speak, with a Meera Bhajan – Mein tho Ghungroo, for Ninamaninja Kaalpaadukal (1963), quite profound, when you think about it, as MSB’s compositions always had this almost simplistic Hindustani leanings for most, and a full blown Meera bhajan was quite a brave foot forward for the 60′s.

Mein tho Ghungroo from Ninamaninja Kaalpaadukal (1963)

I believe it was Thaliritta Kinakkal from Moodupadam (1963) that shot S Janaki to popularity in Malayalam. If you take the first 10 popular songs ever in Malayalam movies, this song would definitely be there in the first 5 for sure. It was the combination of geniuses that made this song so popular. P Bhaskaran with his simple lyrics, yet poetic with M S Baburaj’s soul stirring composition and S Janaki’s magical voice which imbibed the true meaning of the song with her finer nuances.

Tharliritta Kinaakkal from Moodupadam (1963)

There are quite a few songs in the same genre. I can never say which one is my favorite. Oru Kochu Swapnathin from Tharavattamma, Vaasantha Panjami naalil from Bhargavi Nilayam, Anjana Kannezhuthi from Thacholi Othenan are those that come to mind first, and the best part is all these songs were penned by the one and only P Bhaskaran. The true feeling of longing (pining) for one’s loved one runs through all these songs. And they have a haunting quality. I have always felt, like in up North, where Madanmohan always reserved his best songs for Lata Mangeshkar, M S Baburaj too reserved all his classic songs for S Janaki.

Romancing the onscreen gods of Malayalam.

I think we should start with Thaane thirinjum   from Ambalapravu (1970). Here the poet compares the moon to a lover who is tossing and turning in her bed in a sleepless night –  one of the best romantic numbers ever !

Thaane thirinjum from Ambalapravu (1970)

The rest come in a torrent –  Avidunnen gaanam kelkkaan and En Praananayakane from Pareeksha (1968), Swarna valakalitta from Lakshaprabhu (1968), Aaraadhikayude  from Manaswini (1968), Vaarmazhavillinte from Raathrivandi (1971), Kavilathe kanneer kandu from Anweshichu kandethiyilla (1967),  the list is never ending.

Appeasing the real Gods in Malayalam films.

Though his songs are generally based on Hindustani raagas, one song he composed in a typical Carnatic style is a devotional – Vaakachaarthu kazhinjoru from Iruttinte aathmaavu (1967) !

To my knowledge ( and delight, of course ), some of the best devotionals in Malayalam movies are by this trio – Thaamarakumbilallo and Paavananaam from Anweshichu kandethiyilla (1967). In Paavananaam attidaya, MS Baburaj proved that even in the church bells there is music. Maybe he was the first to use church bells in the BGM.

The Nightingale’s saddest melodies.

Iru kanneer thullikal and  Eeranuduthu kondambaram  - both from Iruttinte aathmaavu (1967 ) could be rated amongst the best in sad songs Malayalam film playback has ever produced. Iruttinte Aathmaavu (1967) also  has the rare fete of all the 4 songs sung by one person – S Janaki. Pottithakarnna from Bhargaveenilayam, Idakkonnu chirichum from Olavum Theeravum are just a few to name.

The Duets of S Janaki in Malayalam films.

Coming to some beautiful duets out of the S Janaki – MS Baburaj collaboration, we have Poovukal chirichu from Rathri vandi (1971), Ezhuthiyathaaranaanu Sujatha from Udyogastha (1967) that occupy pride of place in my selection.

A quick runthrough the gamut of emotions that  S Janaki brought alive for the onscreen queens, makes one realise how the numbers  increase manifold each time another sonic gem or a musical note that had hitherto left unexplored in one’s usual lisening chores in discovered.  The above was just a quick run through, at the risk of repeating myself again, of my favorites from the trio S Janaki – P Bhaskaran and M S Baburaj.

Which are yours ? Do write in.

“ Dasan :  Vijayaa, namukkentha ee budhdhi neerathe thonnaththatu?
Vijayan : Ellathunum athintethaya samayamundu Dasaa”

Those words that reverberate across each Malayalee’s mind are going to make a comeback. In an exclusive interview to Narayan Radhakrishnan for Old Malayalam Cinema, Sreenivasan opens his mind.

It seems that wisdom has finally dawned- and the time is ripe for the long awaited return of the duo – Dasan and Vijayan which has been confirmed by Sreenivasan. There has been speculation in the media over the alleged rift between Mohanlal and Sreenivasan following the Padmasree Saroj Kumar debacle. Putting an end to all those rumours, Sreenivasan said- that there was absolutely no differences between them and that only certain people who claimed to be Mohanlal’s cronies created the whole issue. The relation between him and Mohanlal is as strong as ever.

Credit : MetroMatinee

In an exclusive interview, Sreenivsan opened his mind regarding the fourth innings of detectives Ramdas and Vijayan, tentatively titled “Dasanum Vijayanum”. He said  ”For long there had been persistent demand for a fourth instalment of Nadodikattu (1987) – but I was reluctant to go ahead with the subject. Initially Rafi-Mecartin and then Roshaan Andrews had voiced interest in the subject, but it fizzled off. Both Mohanlal and I are not ‘youngsters’ anymore. We needed something that would do justice to our age. It is more than 23 years since Akkare Akkare Akkare (1990) was released. I was hard on work of this script for the past five years. Finally the script is ready. Dasan and Vijayan are now seniors in the department-and in the limelight of their careers. Save for the past glory, nothing has happened to them over the past twenty years, and often they become the subject of ridicule from new hotshots in the department who use brain and brawn to tackle criminals. Dasan and Vijayan need one good case- one last hurrah before they can retire holding their heads high. So do they get a case – or will they create a case –  is the plot of the story. Eventually they get a case, a murder that has occurred in Dasan and Vijayan’s hometown. When they reach Kerala, they are astounded to see that Ananthan Nambiar’ son (to be played by Shammi Thilakan himself) has established himself as a doyen criminal in Kerala from Chennai.”

The original Ananthan Nambiar from Nadodikkattu (1987)

“Though the heroine is a new face, Shobhana, Innocent, Mamukoya, Nedumudi Venu, Janardhanan, T.P. Madhavan, Rajan Padoor, Johnny, Mala Aravindan, NL Balakrishnan, and KPAC Lalitha who were part of the earlier three movies – Nadodikattu (1987), Pattanapravesham(1988) and Akkare, Akkare Akkare (1990) will be there in the new movie. Maniyanpillai Raju, Ambika, Parvathy, Paravoor Bharathan and Mukesh will make guest appearances. It will be the first time Parvathy is facing the camera after her marriage with Jayaram. She will be acting as the wife of CID Unnikrishnan BA BEd (1994) – a cameo to be enacted by Jayaram himself. Fresh faces would also include Suraj Venjaramoodu, Saikumar and Riyaz Khan. Director I.V. Sasi will be acting in a full length role in this movie.”

Jayaram in CID Unnikrishnan BA BEd (1994)

“In a way I want this movie to be a befitting homage to the CID-Detective movies in Malayalam cinema; and at the same time, I shall try to close some loose ends of the previous three movies. We have had our own legacy of CID movies right from the days of Sathyan’s Chekuthante Kotta (1968); Nazeer’s famous CID Nazir (1971) and even Detective 909 Keralathil (1970). We also have a steadfast readership for CID comics including that of CID Moosa, CID Mahesh – originally created by Kannadi Viswanathan, CID Nazir created by Professor Somanathan and Toms version of CBI Mammootty. Dasan and Vijayan try to emulate the success of spy legends of the silver screen. The reason why there was a delay on completion of the script was that I wanted an extended cameo for Mammootty as Sethurama Iyer; for Jayaram as CID Unnikrishnan and Dileep as CID Moosa. Mammootty and Jayaram nodded their assent only a few days back. We are yet to hear from Dileep. All actors whom we approached were enthusiastic about this project.”

And of course, the highlight of the movie would be the brief appearance of Roger Moore who acted as James Bond – as a retired international CID man. We had approached Roger Moore through Resul Pookutty; and told him about this movie- and the influence of James Bond in Kerala. An amused Roger Moore has given his consent for a cameo role. He also reminded that he had acted in a cameo role in a Pink Panther movie as Inspector Clousseau and that he is all game for acting in an Indian movie. Thus this year Mohanlal will be sharing screen space with Roger Moore for the first time ! Talks are going on to see whether we can use the name “James Bond” or “007” to this character or whether there are legal impediments standing in our way” – Sreenivasan continued. I have also requested Priyadarshan to ask Saif Ali Khan whether he would be interested in doing a cameo as Agent Vinod ”.

Roger Moore as James Bond in Live and Let Die (1973)

Sreenivasan himself will be directing the movie – the first time the ace actor would go behind the camera after the success of Chinthavishtayaya Shyamala in 1998. Mohanlal himself will be producing the movie. “Both Sathyan Anthikkad and Priyadarshan have blessed this project and have asked me to go full steam ahead, ” Sreenivasan said. He added that “the writing of the script was an emotional roller-coaster as many of the actors who etched memorable characters are no longer with us. “Shankaradi chettan, Thilakan, Karamana, Somanchettan, Philomina Chechi, Meena Chechi, Shanta devi chechi, Pratapchandran, Azeez, Kothuku Nanappan, Bobby Kottarakkara and Oduvil chettan who gave some memorable performances in the early three parts are long gone. Paravoor Bharathan has retired from acting. It’s hard to replace the characters enacted by them, and so I had to drop those characters from the final draft.”

Meena and Shobana in Nadodikkattu(1987)

Though we pestered Sreenivasan to divulge more information, in his characteristic style, he refused saying that everything can be seen on screen and that he has said more than enough. However, he said that there both Vineeth Sreenivasan and Pranav Mohanlal will make guest appearances, as two bumbling and lazy loafers who are working in the old office of Dasan and Vijayan, and are frequently causing trouble to T.P. Madhavan. “You will also know whom Dasan and Vijayan married, just wait and see” Sreenivasan said with a twinkle in his eye.

To the question asked by us regarding how he views the  movie Pavanai 99.99 starring Captain Raju in the title role of Pavanai (of Nadodikattu fame); Sreenivasan replied that there is nothing wrong in going for such a venture. “A director or writer can give another dimension to an already established character. Saroj Kumar was not a sequel per se of Udayananu Tharam -  it was exploring another facet to the character first introduced in Udayananu Tharam. Many of the characters and dialogues of our previous three movies are now part of our popular culture. Dasan and Vijayan are part of Malayali popular culture. In fact Mamukoya had enacted the role of Gafoor- with the famous ‘Gafoor ka dost’ dialogue intact in Kilukkam Kilukilukkam.

K.E.S.U from Padmashri Bharat Dr Saroj Kumar (2012)

More recently, Babu Namboothiri reprised his famous role of Thangal from Thoovanathumbikal in Trivandrum Lodge and so did Innocent reprise the role of TTE Nadar of No. 20 Madras Mail in Husbands in Goa. So if any director makes a spin-off, I view it as a testament to our success”.

Sreenivasan signed of saying that “sadhanam kayyilundu” and the same will be released on April 1st 2014.

He, along with me, wishes each and every one of you a ROLLICKING ALL FOOLS DAY.

Once again, thank you Jay for the reminder. Today is Jose Prakash’s  birthday ( would have been, if you are the “grammareligious” kind ), and even one year since his passing, his body of work ensures that he is still around, talking, sneering, bellowing, hollering but mostly sending a chill up your spine with the different ways that he conjured up Hate onscreen. As I caught the news of Pran Sikand being chosen for the Dadsaheb Phalke Award the other day, it didn’t fail to cross my mind on he similar aura both held onscreen in two different corners of the great cinema planet of our country, the highest recognition of the land reaching them almost with an apology, and the consummate gentlemen both were, off-screen.

The ex-Army man’s debut as a playback singer started off on a high note, but other than raw talent and a natural propensity to sing, Jose Prakash ( baptised that way from Malayalam cinema by Thikkurissy Sukumaran Nair ) himself realised his shortcomings, primarily the absence of professional training in music and slowly turned to doing bit roles and appearances in his early films, and they are delightfully diverse, as we compare them to the latter studies in villiany that he put us through.I know of these films he sang playback for, Vishappinte Vili (1952), Alphonsa (1952), Sheriyo Thetto (1953), Avan Varunnu (1954), Manasakshi (1954) and the Om Namah Sivaya Chant in Love in Kerala ( 1968). Though he had recorded for Sheriyo Thetto much earlier than Vishappinte Vili, it was the latter who secured a public release before Vishappinte Vili.  Are there more? Do write in.

Jose Prakash’s debut playback track (released)

His early appearances at times had him singing his own songs, and later having a playback track picturised on another actor for a movie, while he appeared in a brief role in the movie too. And those bit-roles were prolific and diverse as the come. Jose Prakash even played father to Prem Nazir in Manasakshi (1954) , though they were almost the same age !  There were a handful of mythologicals too ( mostly from P Subramaniam’s Merry Land ) – where he got to play John the Baptist ( the most handsome representation of the messianic figure I have ever witnessed on screen, and I have others who concur  )

Jose Prakash in Snapaka Yohannan (1963)

See, you get the idea. To me, the pivot in his film career that had been going in fits and starts since Premalekha (1952) ? had to be SilverHead from Love in Kerala (1968), a manic madcap “CID genre” ride where he played our CID film version of Ernst Stavro Blofeld, James Bond’s super villain from his movies. I am quite sure Sasi Kumar modelled him on the Number 1.  It became a template for the productions that soon followed in the “CID genre”, of a larger-than-life Villian, the spirit of which he effortlessly spread evenly in the movies that made him the best baddie Malayalam Cinema has ever seen. It is interesting when you think about it – the very cliched reference points under which we remember Jose Prakash now in the “popular sense” ( yes, the മുതലകുഞ്ഞുങ്ങൾ meme ) is unique only to him, and by virtue in Malayalam cinema. The attribution only reinforces his place in our movies. Even when it reached the 80′s and the Polyster era – of Jayan’s solid prints, punches and pithy dialogues, his intepretation of SilverHead just adapted to another larger-than-life persona is what I feel. The essence was the same, and only Jose Prakash could carry it with elan.

Jose Prakash in Love in Kerala (1968)

For anyone who have “lived” through the Jose Prakash’s golden era knows his roles onscreen went way beyond the staple fare of the pipe-smoking-English-spewing-gangster and he could move you to tears or heckle the bejeesus out of you by his sheer body language and vocal modulations. Mostly he never turned physically violent, he just gave you the impression he would, any moment, and you were on your “mental toes” all the time, getting ready for it.He could, and has at the same time amidst these given us unique portrayals onscreen of those everyday faces you meet around you – parents, elders, uncles, family-friends, at times filled with hate, compassion, empathy, helplessness amongst others, that still stay with you. Here are a few that have stayed with me even though its been decades since I watched them last.

Olavum Theeravum (1970)

Jose Prakash in Olavum Theeravum

Forget the fact that Kunjali ( Jose Prakash ) gets his comeuppance at the hands of Bapputty (Madhu) in the end, he was sheer malevolence walking on two legs, with a fat wallet and sheer disdain as embellishments. In the hands of MT Vasudevan Nair, the characters were clearly etched in words, and it took the likes of Madhu, Jose Prakash and Philomena to bring it to life onscreen, exactly the way the creators wanted it. Those who have watched the movie would remember Kunjali’s frequent run-ins with Baputty and the way he almost teases him to despair with the advantage his wallet held over the miserly pickings of the contract oarsman, over the love of his life, a mere “conquest” for Kunjali. Also, there has always been this nagging doubt in my mind about the final sequences ( or the final turnout of the story, if you will ) that holds a close resemblance to the one in Namukku Parkkan Munthirithoppukal (1986) where only the social standings/affiliations of the three main protagonists change, the net effect, even the final conversations are similar. It would be great if someone does a comparative study on both the movies, on how two masters have approached the aspect of “possession by power” that remains the operative keyword in both the stories.

Eetta (1978 )

Jose Prakash in Eetta (1978)

Jose Prakash was a chosen favorite for IV Sas’s projects as and when it was possible, and Eetta (1978), which told the tale of two elderly reed harvestor/transporter buddies Narayanan ( Jose Prakash) and Madhu ( Varuthunny ), their families and their inevitable falling out of friendships is a memorable one.This could also be one of the rare ones that had Jose Prakash playing father to Kuthiravattom Pappu. ! Were there others?

The Gangsta Role Trinity.

Love in Kerala (1968), CID Nair (1970) and Love in Singapore (1980).

Suffice to say, if Bollywood had its Jeevan, Pran Sikand and Prem Chopra to portray the larger-than-life baddies, at times even coming together to intensify the badassery, we just needed Jose Prakash. He was more than enough to give us a “lifetime of grief” inside the cinema. As I mentioned earlier, these were larger-than-life, but I guess there wasn’t anyone who had the temerity nor the daring to go to any lengths, cross any thresholds, undergo any makeovers ( the SilverHead character had him walking around with his head tonsured and dipped in Silverpaint throughout the movie ). At times, he was not even the anti-thesis of the hero, he was just a front for the actual Evil One who appeared in the final scenes of the film and was mercilessly despatched to kingdom come or creatively beaten to pulp with the accompaniment of soundtrack that would put any steam engine furnace to shame. The point is, he endured as evil personified onscreen, and he was incomparable on those larger-than-life pastiches.

Love in Singapore ( 1980 )

Thrishna (1981)

Though the appearances were brief, his presence was felt through the entire movie, as KVS Panicker, the deeply disturbed, vulnerable and benevolent father of Sridevi ( Rajyalekshmi), who is torn between the social strictures that bind his daughter’s future and the love he recognises in her for her childhood friend, who is also his mentor’s son.It was a dignified performance, a variation of a handful of roles of similar nature he played in the 80′s, ( barring the Jayan high-voltage starrers), and this role some how rises above the rest.

Koodevide (1983)

Xavie Puthooraan, MP is a shrewd politician and a concerned father at the same time and at most of the times, one sincerely doubts whether more of the former seem to stifle out the latter the way he conducts his “daily businesses.” Though P Padmarajan has to be credited as usual for the way he has structured the dialogues that bring out these facets of the Memebr of Parliament’s personality through, it is, at the end, Jose Prakash’s onscreen craft that makes it shine. It is like you really want to sympathise with Xavier Puthooran for the emotional wreck of his son, but try as yoiu might, you still don’t trust him enough to empathise. That is a brilliant proposition to be brought out onscreen in the handful of scenes in appears in the film. A memorable performance for me, undoubtedly.

From Koodevide (1983).

Jump to 7 :07.

Pathram (1999)

Madhavji/ Madhavettan, the ex Secretary of teh Travancore Congress Committe, a Gandhian down to the last fibre of his khadi apparel, member of the editorial team at Jagratha newspaper – though the characterisation seemd top-heavy with the usual Renji Panicker cliche’s ( overwrought by Joshiy‘s direction ), Jose Prakash brought a unique sense of dignity and grace to the characterisation onscreen. In keeping with the later years’ onscreen performances, the appearances were few but the portrayal , when done by a professional with 5 decades of craft under his sleeve, it was pitch-perfect. One of the reasons why it deserves to be mentioned here.

Traffic ( 2011 )

The legend’s last appearance onscreen, and in a matter of 2 minutes and 40 odd seconds, settled in a chair, speaking into a telephone, at the age of 85, blew you away once again, basing his performance on his sheer innate experience that made his weary face shine, and had you breaking off tiny icicles from the nape of your neck as you watched the conversation unfold. I remember reading in an interview about how Bobby Sanjay wanted just him to give life to Dr Simon D’Souza and no one else. I would, for one, be forever indebted to him for that decision.

In one of the last interviews given to media, Jose Prakash closed his conversation with the Manorama Online team in 2010 with this,

“നമ്മൾ ഒരു കാര്യം മനസ്സിലാക്കണം. ലോകത്തിന് ഒരു കുറവും ഉണ്ടാവുകയില്ല, ലോകം എന്നും ഇത് പോലെ നിലനിൽക്കും. പക്ഷെ, ഞാൻ അല്ലെങ്കിൽ നീ എന്ന് പറയുന്ന particular വ്യക്തി ലോകത്തില ഉണ്ടായിരിക്കുക ഇല്ല. ലോകത്തിനു അതൊരു കുറവായി അനുഭവപ്പെടുകയും ഇല്ല. (പുഞ്ചിരിച്ചുകൊണ്ട്), ഇത്രയോക്കയെ എനിക്ക് പറയാനുള്ളൂ . Thank You.”

I believe you have been totally wrong in that ruminative moment Sir. You will forever be remembered.
Your passing, and the void it left, will never again be filled.

Birthday wishes, wherever you are.

Credit : DNA

Songs in my earliest memory consist of my parent’s favourites – KPAC Drama songs, and movie songs by Kamukara, Dr PB Sreenivas and AM Rajah. Though I am a diehard KJ Yesudas fan, I have always had a special place in my heart for the songs of Dr PBS.

1. Mahal Thyaagame from Harischandra (1955).

This was his first Malayalam movie song. I heard this song for the first time only a few days ago. I was amazed at the clarity and almost flawless diction PBS managed to achieve in the song. Lyrics were by Thirunayinarkurichi Madhavan Nair and music by Br Lakshmanan.

2. Inakkuyile from Kaattuthulasi (1964).

Most songs of PBS that I love fall into the serious/philosophical/sad romantic category. Movies like Rebecca, Poochakkanni and Baalyakaalasakhi have many such songs. But the song Inakkuyile from Kaattuthulasi (1964) is the one which haunts me. You can sense the desperation of the lover for his beloved, fearing the worst, right from the initial heart-wrenching plea “Thulasee…Vili Kelkkoo ” and Sathyan‘s presence on screen is a bonus.

3. Maamalakalkkappurathu from Ninamaninja Kaalpaadukal (1963)

Long before KJ Yesudas’s “Naaleekeratthinte Naattilenikkoru” from Thurakkaatha Vaathil (1970)  soothed the homesickness of the Malayali working away from home, there was PBS’s happy, peppy, chirpy “Maamalakalkkappurathu” conjuring up idyllic, nostalgic images of home. This song from Ninamaninja Kaalpaadukal was created by the legendary P Bhaskaran – MS Baburaj combination. Interestingly, “Naaleekeratthinte” was also written by Bhaskaran Master (tuned by K Raghavan Master).

4. Jheel Kinaare from Thadaakam (1982).

Dr.PBS was known to be a prolific writer in several languages. This Hindi song from the IV Sasi hit Thadaakam (1982) is captivating in the voice of S Janaki wjth music by the talented AT Ummer. The picturisation strongly resembles the song sequence “Ye chaand sa roshan chehraa” from the Shammi Kapoor-Sharmila Tagore megahit Kashmir Ki Kali.

He has also sung a Punjabi folk song along with S Janaki in Prathikaaram (1972). It wouldn’t surprise me a bit if the lyricist turned out to be Dr.PBS himself.

5. Raathri Raathri from Ezhu Raathrikal (1968)

The fact that this song has shown up in at least two of my lists earlier is enough proof of how highly I regard this song. It is unsurpassed for its lyrical beauty, atmospheric composition and soulful rendering. A Vayalar – Salil Chowdhury classic.

It was a difficult task for me to choose just five from the hundreds of gems that this great singer has bequeathed to Malayalam Cinema. I will always remember him.

Please do write in with your favourites.

Heard melodies are sweet, but those unheard are sweeter
Read books are great, but those unread are greater.

Movie lovers ! Cinephiles ! It’s time to bring to your attention some books, some classics which redefined the way we watched movies. May I welcome you on a journey across my celluloid shelf ? As I riffle through, the first title that catches my eye is Palunku written by Ravi ¹ in 1969. This book has an interesting history. The book had falsely been claimed to be written by a police officer named Madhu, but ultimately the real author surfaced and the imposter was chastened. Anyways, Palunku ultimately was heralded in the national level. A good book- but not suitable for a holiday read, is what I feel. On the same rack, furthur down, is a collection of poetry by a blind poet Jayadevan ² titled Kavyamela (1965) . Like Palunku, this poetry collection also has a chequered history and had been falsely claimed to be written by one Vikraman, before its fatherhood was rightly restored. Kavyamela had won for the author the Sahithya Academy award – but Jayadevan had snubbed the same. Some of the poems in the collection are so eloquent, especially “Swapnangal, Swapnangale”. But, then again, poetry is not exactly what I am in the mood for, right now.

Across the room, in another shelf, rests classics from the past two decades. Jayadevante Krithikal (1986) ³ stands out amongst the others, if you ask me. Jayadevan aka Padmashree Jayadevan (not to be confused with the earlier blind poet), who ultimately won the Jnanapeedam Award was a boon to Malayalam literature- though his untimely death created a big void in Malayalam literature. I have with me Moonnaam Yaamam and Innale – two of his classic reads. Innale proved interesting reading and I finished the same within an hour or so. And when I placed the book back in the rack, I found another hit of the Eighties. The debut novel of poet laureate Rajalekshmi ⁴ - Shantigramathile Amma (1988) - which narrates the plights of a single mother reduced to penury after an ill-fated marital life. Rajalakshmi Teacher really deserved the Kerala Sahithya Academy Award for this one, no doubt. A quick read- I finished the same in double quick time. Alongside rests another Sahithya Academy winner written by a former jail inmate Ben Narendran ⁵ titled Sharanalayam (1989) . Advocate Nenmara gifted me this book. It seems Ben Narendran was his client. Ben Narendran is a maverick, a man who welcomes death with both hands- and that shows in his writing.

On similar vein is Aayshmann Bhava (1998) by Sooryan⁶ , another Sahithya Academy winner. He too seems to be a person eagerly waiting for death to come and take him away. Setunath’s⁷  Swantham (2007) is another of my favorites, and I urge you to read it. In fact, the book was virtually unknown till its English translation took the world by storm ultimately winning for its author the coveted Commonwealth award. However, Sethu, it seems was not happy with the award as he had no idea who the translator was. But I think Sethu would be the first to confess that the spirit of the book was kept tight and intact during translation.

My attention now shifts to Malavika Varma’s⁸ Ente Muttathe Nanmaram (2005). This semi-biographic work about a young girl who gets fascinated and infatuated with the “man Friday” of her erstwhile tharavadu won a lot of critical acclaim, and at the same time a lot of flak for the author within her family circles for being too personal. Though not award winners – the highly popular works by Rajani⁹ including Jalakam, Neelaakaasham, Swapnangal, Venal and Kanneerdalangal take up a good portion of my shelf. These were gifted to me by Nandinikutty and her husband Ravi. Nandinikutty was a big fan of Rajani the author – but when she she said that after meeting him personally, she began to detest Rajani the person. Anway the couple had gifted me these books. Mazhathullikal (2009) by Jnanapeedam awardee Palazhee Shivasankara Pillai ¹⁰ is a great read. It’s a magnum opus- and will take some time to read. The evening calls for something light.

I now turned to my large collection of pulp fiction. And I was confused. Which should I read? Got with me three works by Sagar Kottappuram ¹¹ - Akalumthorum Adukkunnavar, Ullaasa Thenmazha and his classic Oru Gazetted Yekshi (circa 1998). I must also mention that I have with me Mandaarapushpangal written by Sagar himself under the pseudonym C.V. Rajamama. I am a self proclaimed Sagar fan. And those who know me would have read my fan mail about his works in the letters page in the magazine “Manchadi” and “Poonkili”. Like Sagar another author whom I like a lot is Varghese Valavil.¹²  His works include Poocha Karutha Poocha, Oru Balaalsanghathinte Ormaykku and the hit novel Chilanthivalakaley Tata (circa 1990). Valavil has a zany sense of humour- which was a lot appreciated during the late Eighties and early Nineties. However, he has lost track during the past few years.

I believe the creative decline of Valavil became a blessing for Manoharan Mangalodaym ¹³ the author of hit works like Chekuthaane Snehicha Maalakha, Muscleman Thalarthiya Dambathyam, Kannimaasathile Kamithaakkal and the romantic novel Manassil Oru Kulirmazha (2008). I think Manoharan Mangalodayam will be the in-thing in pulp literature for Malayalam in the coming years. Leaning towards the far-end, I can see Urakkamillaatha Rathrikal by Subhramaniam Thonnakkal ¹⁴ and the more recent anthology of Vinayachandran ¹⁵ – Chettakkudilile Pranayam and Pathirakozhi. At the risk of pompousness, allow me to show off my complete Pappan collection ¹⁶ too. Novelist Pappan has now settled in Spain and is with the Indian Embassy over there. However, his literary outputs continue as strong as ever. Classic works include Koottilaaya Chundeli, Karutha Manasulla Velutha Manushyan and Chessu Kalikkunna Changaathi. So much to read, and so little time ( before sleep, I mean ). I have finally decided to re-read the evergreen semi-biographical classic Chirakodinja Kinakkal by the tailor-novelist N.P. Ambujakshan. ¹⁷ A poignant tale of love lost featuring a protagonist tailor and his lady love, the book is surpassed only by Devadas. And no one can read this tragic tale without breaking down. I loved this book.

My attention now turns to the detective – horror novels and whodunits. Manthrika kuthira by lawyer novelist Sunny Kuruvilla ¹⁸ is a hot favourite. Shikari is another hot favorite in this genre – but the copy I have is a tattered one – the last few pages are missing. The author is one Gopalakrishnan Pillai ¹⁹ who had settled somewhere in Karnataka. My friend Keshu ²⁰gifted me a copy of his father’s unpublished novel Currency. It’s a thriller of the first order- and I wonder whether Keshu has taken an idea or two from the book – there is something fishy about him nowadays. But the icing in my collection of thrillers is Varikkuzhiyile Kolapaathakam by Hitchcock Kanjikkuzhy. ²¹ Haven’t you read it? Ace business tycoon Tony Kurishinkal and politician Kumbalam Hari have all raved a lot about this murder mystery. In fact Kanjikkuzhi had a plan to make a movie out of the book with Mammootty in the lead. But the project has not materialised till date.

How about reading some good poetry of the last twenty odd years Yuvajanotsavam by Maya ²² is a great collection of poetry centred around college campus life. Vibyor, a collection of poems in English by Susan Mary Thomas ²³ is also good and so is Mayookham by Indira Balakrishnan. ²⁴ Chandrahasante Kavithakal by the young poet Chandrahasan ²⁵ is also an interesting read. I remember catching a musical adaptation of his poems at the local bus station, where two blind men and their sister rendered a beautiful, memorable version. I assume you are also not that averse to abstract and ultra-modern poetry, are you ? The ones like Manjil Virinja Pookkal Vaadiyappol by O.P. Olassa. ²⁶  Who can ever forget his :

“ഭീമനും യുധിഷ്ഠിരനും  ബീഡി വലിച്ചു
സീതയുടെ മാറ് പിളർന്നു
രക്തം കുടിച്ചു ദുര്യോധനൻ
ഗുരുവായൂരപ്പന് ജലദോഷമായിരുന്നു അന്ന് !”

Kavi Kunji, ²⁷ of  “Kallu Kudichal Pallu Vilikkum” and “Kadalu Kada Kandu” fame, is another favorite.  If you have not read the same- you should read it. Amazing to say the least. I also read Promethues by Chandradas. ²⁸  The blurb of the book makes interesting reading. Critic Raghavan had given a resounding review when it came out, I still recall – “മലയാള കവിതയ്ക്ക് കിട്ടിയ വരപ്രസാദം .ഒറ്റ കൃതി കൊണ്ട് മലയാളത്തെ ഞെട്ടിച്ച പെരുന്തച്ചൻ ”.

My attention now turn to the drams in the shelf. I see in my shelf  Thuni Kettiya Sathyam and Arival Chuttika Lathi by S.K. Pallipuram. ²⁹ The first drama was staged at Paleri sometime during the late Fifties. I also have with me some new age dramas written by Shakespeare Pavithran. ³⁰ Amma Oru Kovil and Prakasham parathunna penkutty are his most famous works – the latter becoming the best-seller of the year, if I remember right.

Now my eyes go through another section of the shelf- a few English works. They include My Bloody Mistakes (2012) by Sreedhar Krishna ³¹ and Seasons (2009) by Sharath. ³² Of these, Seasons is the better one. It’s about love lost, fragile friendships and how some relations always stand the test of time. Sreedhar Krishna though scored big with his debut work- lost esteem before his adoring fans after trying to pass off another novel Jailile Ormakal as his own. However, he soon rectified his mistake. Dhwani Nambiar’s ³³ graphic work Trivandrum Lodge (2012) also occupies pride of place in the section. The book is heavy in illustrations and is a coffee table book. But I was in the mood for a thriller. So I finally read Dam 999 by Captain Frederick Brown. ³⁴ A chilling read- a work which hits you close to home if you are living in and around Mullaperiyar.

If you think you have had enough of poetry and novels,  how about I quickly take you through some inspirational reads before your retire ? Mathruka Manushyan  (1972) written by Vishwanathan Thambi ³⁵ is my personal favourite. Thambi has taken care to imbibe into his personal life his teachings and concept of life. A more modern work is Gandhiye Ariyaan by Prabhakaran ³⁶– a self-confessed Gandhian and idealist. I also have with me a lesser known work Bhumikku ethra prayamaayi, Jathikku ethra vayassayi. A pity this book has not been reprinted. The new generation ought to read and enjoy Mathruka Manushyan.

Now to mention some books which sadly I missed out. Publisher Shivadasan of Kilipattu Books of Kozhikkode had promised me a copy of debutant novelist Balachandran’s ³⁷ novel. But unfortunately the author and the only available handwritten manuscript got lost forever in a bomb blast at Kozhikkode. G.K. Raja ³⁸, if you recall, was a famed detective novelist of repute. He was eccentric and I remember him checking all four sides of a room and lobby in a hotel. Don’t remember the name of the hotel- but it was at the time a murder took place- where a young lady was drowned to death. Suspicion had initially fallen on the swimming instructor of the hotel- but the real culprit proved to be a 12 year old boy. Raja was on work on the novelisation of this event.

Anyway hope you all of you have a chance to read these books. Most of these books are available at that bookshop run by Shyamala Panicker. ³⁹

[ Needless to say- even the least unobservant among us would have guessed that the books I mentioned are fictional works from some of our superhit movies. Please guess the name of the character (author) and the movie, without taking Google's help and post the same over here.  Look forward to your discoveries. ]

And, We are three years old.

The operative word is we, and that was exactly the objective when this initiative began, on my own terms, to contribute and put on record online , on whatever I could on the sepia years of Malayalam cinema , solely because, there weren’t any for me to immerse myself in, you see.

What started off as a tea-kettle under a shady coconut tree has grown into an adda with a rickety bench, a fairly full kettle, punctuated by the fairly active chatter of those sold on old Malayalam movies. Am I glad ? You bet I am.

As with every passing year, the past had been eventful too, with a lot of surprises, with The Hindu featuring this adda one time, accomplished wordsmiths in the grammar of cinema passing through leaving brief but meaningful words of encouragement that makes the whole effort worthwhile.

So, thank you.

For being around.

Truly appreciate you all being here.

This is fondly dedicated to a “Kanyakumari Evangelist ”

Credit : MSI

Kanyakumari (1974), directed by KS Sethumadhavan based on MT Vasudevan Nair’s screenplay also had a unique pairing onscreen that was never repeated ever – Kamal Haasan with Rita Bhaduri   ( NOT to be confused with the younger sister of Jaya Bhaduri), that too in a Malayalam film production! It was her second movie in her career having graduated from the Pune Film Institute in 1973. Zarina Wahab, her batch-mate, however decided to stick with Malayalam films along with her work in Hindi, and even started off paired opposite, guess whom – Kamal Haasan in Malayalam, in Madanolsavam (1978).

This was also Kamal Haasan’s first film in Malayalam in a leading (?) role, after his debut in Kannum Karalum (1961), which again was by KS Sethumadhavan. Kanyakumari (1974) portrays a brief increment in time, centred around the three focii – Kanyakaumari and its enduring myths, the main Rest House of the tourist destination and the vistors to the coastal town who stay there, the squalid tenement of the leading protagonist, Parvati and the events that bind them, riding on sheer chances and coincidences. In a way, as I see it, Kanyakumari is an interesting study of helplessness, sexual and spiritual – of the leading members of the cast pitted against unbridled virility without any morality, and the how destiny addresses each in its own celestial logic.

For a short, tight and almost mystical narrative, I could find only two aspects of the movie, shall I say, incredulous – the dialect used through out the movie and the choice in casting of the main male protagonist . More about this here. The very fact that the legendary duo chose to accommodate / over-ride these two aspects still puzzles me.

The Rest House that forms the hub of the movie – Kanyakumari (1974)

The movie begins with a group of local tourists been taken around the Kanyakumari temple, as KS Sethumadhavan almost makes the introduction to a promo reel for the temple. Prominent in the crowd is a young couple, newly married ( a very, very young Jagathy Sreekumar) with all the trappings of any honey mooning lovebirds – the excessive public display of affection, the gadgets ( Jagathy flaunts a TLR camera around his neck) and an overzealousness to please and rib each other. Other than being the “face of this group” – in the bus journey and at the Kanyakumari shore , their personal life do not form part of the main narrative of the movie. Nameless, they depart soon. At the temple, the guide emphatically gestures as he narrates the story, a well-worn tale he knows backwards and inside out. Of how the Devi Parashakthi, smitten by Lord Shiva does penance to win him over, and the gods so moved by her devotion convinces the Lord who becomes a willing groom for the wedding that was to happen at midnight. Lord Siva enroute to the wedding venue is fooled into believing he was late, and that morning had broken, by Lord Indra, who takes the form of a rooster and coos within his earshot. A dejected Lord Siva returns. The enraged bride dumps the wedding feast into the sea, pulls down the festive buntings and decide to stay in penance for ever at Kanyakumari. As the crowd collectively nods, a tiny voice quips, tugging her mother’s saree, “ Ma, but I remember grandpa saying  it was Narada and NOT Lord Indra who came as the rooster.”  She is promptly asked to shut up.

Should it be a coincidence that the setting is Kanyakumari and our lead protagonists are named Shankaran ( Kamal Haasan ) and Parvati ( Rita Bhaduri ) ! The bus, along with a Swami ( KG Menon )  who almost misses it, reaches Kanyakumari who, like one who knows the place like the palm of his hand, where he is accosted by the chirpy, bubbly Parvati, who sells trinkets but decides otherwise not to pitch her wares seeing his attire. Swami walks into the Rest House, where he is shown the room by the loud-mouthed, loose-jawed steward Bhaskaran ( Alummoodan), a constant chatter-box. In the foyer is a hassled Seth ( Shankaradi in an absolutely delightful role ), screaming and cussing in flawless, chaste Hindi and switching to Malayalam seamlessly on a business deal gone sour, as his young wife fidgets and attempts to pacify him, as her husband’s expletives fly around with abandon. In his room, Swami catches the eye of Jayan staring listlessly at the ocean, across the other wing of the building. Jayan ( Prem Navas ) is the spoiled-rich brat of a millionaire businessman, so soaked in alcohol and drugs that doctors have warned him that the next sundowner might be his last, and he is been here since a week for rehabilitation, all by himself.

The Swami has his own share of secrets – Kanyakumari-(1974)

KS Sethumadhavan also takes us on a tour of the Vivekananda Rock, along with a boatload of tourists, amongst whom is also a very, very young Mallika Sukumaran taking photographs of her family/loved ones. Swamy meets Jayan on a stroll on the beach, the latter starting off a conversation like he has just picked off from where he left the last time they met. Jayan pours his heart out to the ascetic, fearful about his mind that seems to be keeping an arm’s distance from him. Rudderless, he keeps trying to find meaning about himself. Down the beach is Parvati, done for the day, waiting for Shankaran, the only bright spot in her drab life in a hovel with her drunkard, wayward uncle ( N Govindankutty in a menacing, yet restrained role ) and her blind grandmother, the latter offering a semblance of perceived security in her life. Shankaran is a stone-cutter and a budding sculptor who has now found regular work off-shore in a quarry. The embankment is their regular meeting place.

Frederic, the swimmer has an eye on Pravati – Kanyakumari (1974)

It’s here that we are introduced to another inmate, on his way back from his daily swim in the sea, Frederic ( Murali “Jesus” Das ), who is all testosterone with the mental constitution of a hyena. His life is very linear – good food, alcohol, his swims and his conquests, with absolutely no moral compunctions nor afterthought. He has an eye on Parvati and is biding his time.

As the night grows at the Rest House, the hippies in the adjoining room, partake in the sacrament of the chillum. As the  song wafts onto the beach and to Jayan, staring listlessly at the night surf, keeps repeating her words, “I’m in love, with love”. The Rest house has another couple checking in the late hours – an elderly, bitter, infirm Somasundaram ( Veeran ), the owner of Ambika mills and his demure, timid wife Rajani ( Mani Mala ), who is less than half his age. The foyer resonates with his screaming at the staff not having honored his special request of a room on the ground floor, and the loud drug-fuelled orgy that’s coming from the adjoining wing, enough to rattle his nerves. Jayan, walking in from the beach, sees Rajani and is stunned. He just cannot seem to recall her exact identity as he frantically tries to search through the hundreds of faces through his hall of memories enveloped in a haze of drugs and alcohol but he knows this face held a special meaning to him sometime ago. And the associated emotions of the time comes rushing, overwhelming him, but he still cannot figure out, even as Somasundaram curses this young man’s stare and they walk to their room.

Somasundaram and Rajini in Kanyakumari (1974)

The Rest House’s lone restaurant is almost full and as the two elderly couples make themselves comfortable around the huge dinner table , they are joined by Frederic who orders a drink, and switches on his charm on Seth’s wife, who has by then fallen, hook line and sinker for his sheer physical magnetism. At times, the moth dive-bombs into the flame with the full realization of what lies at the end of the journey, and she expects no less an outcome, on whatever level it is. The sexual vibes are not lost on the fellow diners ( except for the Seth that is ) who leave after a hurried meal. The Swami, meanwhile, back in his room, finds his the small suitcase that holds his belongings has been someone else’s, now filled with children’s dresses and feminine wear. Bemused, and a bit disappointed, he goes ahead and goes on draping each article of dressing on and around the bed. An unknown family comes alive around him, the children’s rhymes, a harried mother’s reprimands and he sighs, for a moment thinking of the things that might have been. Meanwhile in the corridor, a pair of dainty feet stealthily moves in a purposeful  hurry from the Seth’s room to Frederic’s room with her partner’s loud snore escorting her safely.

A perturbed Jayan, on whom this new face has grown into an obsession has by now made the corridor that gives a safe and unobstructed view of Somasundaram’s room his new haunt. He just has to get to the bottom of it, and that face stays like the maddening itch that persists in that unreachable part of your back.

Parvati’s uncle has an eye on her too – Kanyakumari (1974)

In another part of the coastal town, domestic bliss is the farthest from his mind, as the garrulous and drunk Veerappan starts his hideous flirting and terrorizing of Parvati and her invalid and blind grandmother. He makes it clear in no uncertain terms that before the next year is through, Parvati would be his wife, come what may. A terrified and disgusted Parvati can only cringe.

Parvati is surprised and happy to find Swami in front of her hut next morning and is even more surprised as he reels out the local landmarks around this part of Kanyakumari, some of which even she isn’t aware. But what surprises her most is that swami even knows her grandmother’s maiden name, Karuthamma. She is amazed, surely he has divine powers ! On his stroll back to the beach, in front of the driveway to the Rest house, he is accosted by a very emotional Jayan who emphatically tells him that he has come to the final conclusion, after being up all night, recollecting that he and the lady with Somasundaram are acquaintances but from when, he doesn’t know. And its at that moment the couple appear, enroute to the nearby temple. Jayan takes leave, says he too needs a temple visit. The Swami smiles empathetically.

Swami amazes Parvati with his knowledge of her locality – Kanyakumari (1974)

At the temple, Jayan follows the couple at a safe distance, even to the curio stalls dotted around the temple, and soon comes in direct eye-contact with an already cursing Somasundaram, who finds the quality of the curios disgusting and their sales techniques loathsome. Seeing Jayan inside the shop and  stalking his wife is the last straw as he explodes, insulting him. Jayan is unfazed. He just cannot recognize the face but will keep trying.

Swami is at the beach, almost waiting  with a purpose, and it is not long before Shankaran returns after his day’s work.  It doesn’t take long for him to form a bond with the young stone-cutter who melts at the very name of his beloved from this venerable sage. The Swami’s part inquiry, part-conversation indicates more of a guardian’s “due diligence” as he weighs the best options to secure his ward’s future. The benevolence seems almost cloyingly sweet. As he takes leave, he blesses him with almost paternal love.

And it is with amusement that he watches the Seth and his wife, engrossed in their seemingly personal world, though in reality, she is intently engrossed in watching Frederic taking his daily swim and drinking it all in with her hungry eyes. The Seth, is blissfully unaware. As they leave Kanyakumari the next day, the deeply religious Seth falls at the feet of  Swami whom he meets at the driveway, the wife following suit, as he discloses the real purpose of his visit which is in fact a pilgrimage to be blessed with a heir to their personal fortune. It’s been close to three decades of pilgrimages now. Oblivious to the Swami, Destiny had, this time around invoked the good graces of a “god” on earth itself, a secret known only to Seth’s wife, probably forever.

Jayan, meanwhile has reached a decision of serious consequences as he realises that in this intense quest of pursuing this face from his past, he has also fallen deeply in love with her, without even having said a word. Gathering his courage, he mentions this to Swami, revealing his course of action of gatecrashing into Somasundaram’s room and telling his acquaintance that he is deeply in love with her. Swami offers all his moral support. At a different part of the beach, osession has taken a more sinister and lustful form in the form of Frederic who again tries to hit on Parvati, inviting her to his room, so that he can buy off all her bead-necklaces and pay her well. As she wriggles out this , she is accosted by Veeran who has come in search of her for his booze-money.

Frederic seizes opportunities by their necks – Kanyakumari (1974)

Frederic wastes no time in realising an opportunity that Destiny has brought around, befriends Veeran, takes him to his room, plies him with country liquor and asks him to get the “girl” that night to his room, even paying him. It isn’t long before Veeran passes out at the Rest House premises on his way out. Jayan, who almost gate-crashes into Somasundaram’s room in the guise of borrowing a Railways Time Table,  introducing himself and declaring his love for his acquaintance is visibly shattered when she is introduced as Mrs. Somasundaram. His destruction is complete. Swami, on a night stroll finds Jayan drunk and incoherent, but happy of having ultimately recognised her in the confrontation. She was his childhood sweet-heart whom he had lost touch as they moved to another place.

Jayan is helped to his room by Swami and on the stairwell is met by Rajini, who seem to have recognised him the moment they met at the foyer for the first time. Resigned to the ways of the world, he apologises for having dragged into this bizarre situation of his making. It’s a beautiful moment as both wistfully hope for a moment of how it might had been and drag themselves violently to the present and its depressing reality. Jayan is at peace now. He has atleast found an answer to one of his own questions. That, he feels, makes him a little less helpless than he had been.

In the stairwell, as Swami escorts her to her room, they find themselves in the presence of Somasundaram, in all his acerbic, bitter, cussing glory. But this time its Rajini, for the first time in their marital “arrangement ”cuts him down to size, for all the berating and the barbed arrowheads that he had stuck into her heart, every single day. Somasundaram, suddenly feeling lower than the pock-marked mosaic floor, literally crawls away.

In the early hours next morning, Parvati is on her way up to the beach, after bidding Shankaran goodbye, Frederic is lying in wait for her. The beach head is deserted, as far her eyes can see both ways, and Frederic knows his moment has arrived and he is not going to let go off it, come what may. Swami, who knows where to find Parvati at this time of the day, has the purposeful walk of an estranged parent atlast about to meet his daughter, with a memorable gift for her wedding that he sees not far away in the future, to a boy he approves. To know what happens next, you need to watch the movie

So, is there a legal copy available that I can buy online?

The VCD of the movie is available and you can buy it here.

Related : Weird dialects, a mystic mascot and melody time-travels.

After watching Kanyakumari (1974) by the KS Sethumadhavan – MT Vasudevan Nair duo, there are places your eyebrows go, at times in puzzlement, at times in amusement and at times with sheer curiosity. These are what I felt had to be put down in a separate, yet related note. Who knows, you would find more, once you have watched the movie, or recall it from the times you watched it four decades back.

The Valluvanadan dialect in Kanyakumari.

The last thing you would expect is finding the entire cast of a narrative based in Kanyakumari speaking in the typical Valluvanadan dialect – I mean you wouldn’t expect “പണിക്ക് പൂവാണ്ട് കള്ളി രാശിത്തരം കാട്ടി ഇരിക്ക്യാ, ല്ലേ ?” from a young girl born and brought up on the Kanyakumari coastline, if you ask me. I mean, the entire “literary content that weaves the fabric of the movie” is Valluvanadan, which has nothing to do with the coastal town.

A really marked deviation in casting.

The casting of Kamal Haasan, whose character Shankaran is described as “പതിനെട്ടു പത്തൊൻപത് വയസ്സ് പ്രായം വരുന്ന ശങ്കരൻ. കയ്യിൽ കല്ലുളിയും ചുറ്റികയും ഉള്ള സഞ്ചി.മുറിക്കയ്യൻ ഷർട്ട്‌, മുണ്ട്. കറുത്ത് കോമളനായ ആ ചെറുപ്പക്കാരന്റെ ശരീരം അധ്വാനം കൊണ്ട് ധാർഡ്ദ്യo വന്നതാണ്.” in the Screenplay almost makes you chuckle looking at Kamal Haasan in the movie. Then again, it must have been factored in by the duo, for all you know for reasons of its own.

A new character-duo that adds ummm.. nothing special.

The Hussy and her partner Pimp in Kanyakumar (1974)

KS Sethumadhavan introduces this hustler and her husband (?) pimp into the narrative, which,  frankly ( atleast for me) does not add anything to the flow of the narrative. The “why” of it is still beyond me.

A Song before its time.

There is an instance of  Parvati humming Kadali Chenkadali from Ramu Karyat‘s Nellu (1974) in one of her jaunts around the beach, which is amusing since Nellu was released on 23rd August 1974, whereas Kanyakumari was released on 26 July 1974 Maybe, just maybe, Parvati so liked the song that she got lucky enough to listen  in an early audio release of the movie and managed to buy an LP from Kanyakumari.

Kadali from Nellu (1974)

The Urban Myth of Kanyakumari’s Mayamma

If you were around in the 70′s and early 80′s in Kanyakumari, or in southern Kerala, it would have been very difficult to not have heard of this “phenomenon” named Mayamma who wandered about half-naked on the beach-fronts of Kanyakumari, with her sagely toothless smile and a faithful pack of stray-dogs that tagged along wherever she went.  I was surprised to find a website on her, which waxed eloquent on her “divinity”.

No one knows when Mayamma first appeared on the sea shore. She walked on the hot sand, unaware of the heat or hunger. She was often seen swimming in the ocean or sitting on slippery rocks among the waves. Devotees who flocked to see her would wait for hours till she returned laughing from the sea. On land she was always surrounded by a pack of adoring dogs. She fed them whatever scraps of food she found, and with the same joyful look in her eyes, fed people too. Amma would collect cigarette butts, wet sea-weed and soaking plantain stems that littered the beach and miraculously set them ablaze into a crackling fire at night. Amma never claimed to be anything special. But everyone who came to her was enveloped by the mysterious waves of kindness and compassion which flowed from her gaze.

KS Sethumadhavan even worked her into the narrative !

Would love to learn more about this phenomenon and if your memories serve you right, do write in.

Related : Classic Picks | KS Sethumadhavan | Kanyakumari (1974)

Kamal Haasan and Rita Bhaduri in Kanyakumari (1974)

KS Sethumadhavan’s Kanyakumari (1974) had 2 songs in Malayalam written by Vayalar, set to music by MB Sreenivasan. There is an English song credited for its lyrics and music to MB Srinivasan but I strongly contest that and feel a collaborator on the lyrics have been left out. There are two instrumental pieces, catering to two disparate forms of dance as it were, a Shiv Parvati Lasya piece, and a music montage of Jayan’s memories of his Bohemian life, of a life-time of drugs, sex and rock-n-roll.

IMPORTANT. 

All content of the videos belong to the original copyright holder T-Series, and has been posted here only for informational purposes.  I deeply respect any claim of  copyright violations and will gladly abide by the existing rules for  corrective action.

Jayan’s Bohemia – Musical Interlude.

KS Sethumadhavan takes the help of MB Sreenivasan in putting together his drug-crazed years, along with the wine, the music and the women, and of course the money that flowed, based on MT’s pointers that he mentions in the screenplay too, and it come out this way. Even taken as a composite piece, I really felt a tad disoriented at the abrupt “drop” in between for a solo tone which again settles back into the rhythm piece laid out.Captures brilliantly the “spirit” of the times, so to speak.

Chandrapalunku.

Singers : KJ Yesudas and S Janaki.

Arguably, the movie is known for this song and made more famous by this song. Vayalar neatly lays out the imagery of Kanyakumari and through it the desire and sheer love the young couple in love have for each other. This song enjoyed endless replay in its times on radio and more than KJ Yesudas, its S Janaki’s voice that literally washes over you like a wave.

Aayiram Kannulla.

Singers : KJ Yesudas, P Leela, LR Eeswari and Chorus.

For the life of me , I just cannot understand why KS Sethumadhavan turned the camera indoors for an obvious song setting such as this, whilst the entire movie is set outdoors ! The ritual “offering-dance” in the local temple courtyard on the eve of their favorite deity’s festival, its Shankaran who performs along with the rest of the dancers with gay abandon as lady love Parvati, brimming with pride and a bit amused, watches the dance performance.

Question: Could anyone identify the main lead dancer ( female) ?

The Siva-Parvathy Laasya ensemble.

KS Sethumadhavan shouldn’t have made Rita Bhaduri do this. It is excruciatingly painful ( atleast, for me ) to watch Parvati go through the motions of expressing her love for her celestial beloved this way. Parvati pales in comparison at Shiva’s fluid, effortless and graceful moves ( atleast for movie standards, that is) and I really wish this had been expressed in another way, rather than this “obvious” one.

Here is one from 1969 for some perspective.

I’m in Love with Love.

Lyrics : MB Sreenivasan – MT Vasudevan Nair (?)
Singer : Usha Uthup (nee Iyer )

The movie titlecards credit MB Sreenivasan for the lyrics of this “Chillum-chillum” song but MT Vasudevan Nair’s screenplay already has the first four verses written down as the refrain of the song that Jayan listens to, from the courtyard. Which makes me wonder why the author himself was not given credit as co-collaborator on lyrics of the song ! It could mean MT Vasudevan Nair’s debut only (?) song lyrics for a Malayalam movie is a 4 -line verse in English . ( Thanks Susie )

Question : Can someone positively identify the lead “singer”?

Do write in, about your “Chandrapalunku” times.

Related : Classic Picks | KS Sethumadhavan | Kanyakumari (1974)

Related : Weird dialects, a mystic mascot and melody time-travels.

If you think you know your GK Pillai from Kollam GK Pillai, and happen to be in Kozhikode on June 2nd, you better be at the Malabar Christian College. Quiz Kerala Pictures, in association with the Quiz Society of India is hosting the biggest quiz show based on Malayalam cinema history at the college premises.

When : June 2, 2013, from 12.00 noon.

Where : Malabar Christian College

Titled “Chitramela“, and conceived by Rajesh Mohanan (an familiar face in these parts, if I could say that), the quiz promises to be equally exciting in terms of content and presentation, and needless to say, a veritable treasure house of information.

If you are at Kozhikode on June 2nd, here is an event you do not want to miss.

The Publicity Poster of Chitramela 2013.

Pix Credit & Rights : The Hindu

{ This is a guest post by Harikrishnan Nair, as an addendum to Susie’s tribute to PB Srinivas’ songs, as he felt he had to place on record his favorites amongst them some which might have not have been got the due recognition it deserved. “A silent lover of this blog”, he mailed this across as a slightly extended response to Susie’s post, but I felt it needed a place of its own in here. – cinematters }

* All track excerpts courtesy Malayalasangeetham.info.

Yatrakkaara from Ayisha (1964)

Music : RK Sekhar
Lyrics : Vayalar

Heard/rendered in the background during a train journey, which also forms the moment where Bashir(Prem Nazir) meets Ayisha (Sasirekha) who is married to Aboobacker Sahib (Sathyan).

Mannavanayaalum from Sathyabhama (1963)

Music : V Dakshinamoorthy
Lyrics :Abhayadev

Again, rendered in the background, as Lord Krishna (Prem Nazir) is leaving from Dwaraka to prove his innocence after the death of Prasenajith. Beautifully sung by P B S, it perfectly matches the mood of the situation, in tone and tenor.

Chandanakkinnam from Vidhi Thanna Vilakku (1962)

Music : V Dakshinamoorthy
Lyrics: P Bhaskaran

A romantic song picturised on Sasi (Sathyan) and Bhavani (Raagini), Vidhi Thanna Vilakku (1962) also one more comedy number beautifully sung by PBS, “Karakku company” picturised on SP Pillai and Bahadoor.

 Brucelee kunjallayo  from Raju Rahim (1978)

Music : MK Arjunan
Lyrics:  RK Damodaran

Picturised on  Raju - Rahim ( Prem Nazir and KP Ummer ) and Bahadoor, this song, according to me was the the last song sung by PBS for Malayalam movies. Please correct me if I am wrong.

Devayani, Devayani from Aparadhini (1968)

Music :  MB Sreenivasan
Lyrics: P Bhaskaran

One of those very common instances from old Malayalam films which have theatre acts incorporated for the sake of a song. Here, Sathyan as  Rajagopalan dreams himself to be  Kacha in the Kacha-Devayani play that he is watching.

 Kanninaal kaanmathellam from Krishna Kuchela (1961)

Music :  K Raghavan
Lyrics: P Bhaskaran

A song in praise of Lord Krishna and his boundless generosity and blessings, picturised on Kuchela’s ( TS Muthaiah) family.

 Udavaale padavale from Unniyarcha (1961)

Music :  K Raghavan
Lyrics: P Bhaskaran

This song, along with Poringal Jayamallo, another song are missing from the current VCD’s of Unniyarcha (1961) available in the market. As I recall, Udavaale Padavale plays in the background as Unniyarcha watches her son and Aaromal Chekavar’s son practising their weaponry and combat skills, in order to exact her revenge on Chanthu. The scene also clearly captures the inner turmoil of Unniyarcha  at the same time. There is a concluding version of this song which starts off with Jayabheri Uyarattey, which is heard as the two young warriors celebrate after having slain Chanthu.

Enthinu neeyiniyum  from Christmas Rathri (1961)

Amrutam pakarnna Rathri from Vidhi ( 1968)

Vidhi (1968 ) was the Malayalam-dubbed version of Taqdeer (1967) had in place of its classic Jab Jab Bahar aaye, our own Amrutam Pakarunna Rathri in three versions. The final version has PB Srinivas, S Janaki and Dr KJ Yesudas rendering the song in all its emotional fullness.

The Malayalam – dubbed version had S Janaki singing for Farida Jalal, P B Srinivas lends his voice to the young actor while Dr KJ Yesudas’  part is reserved for Bharat Bhushan.

If S Janaki and PB Srrinivas brings on the joi-de-vivre of love in their vocals, its longing, separation and pain that is echoed in Dr KJ yesudas’ voice. PB Srinivas’ vocals are heavenly in this version.

Unfortunately, I haven’t been able to find even the audio version of the song anywhere. Here is the Hindi version which will give you an idea of the emotional depth of the scene.

The Honor Roll.

{ Sen Joseph shares the synopsis of his upcoming e-book, “The Pioneer” on JC Daniel, alongwith a general introduction and overview of the perspectives and historical annotations being discussed in the book. The final distribution format of the book is yet to be finalized. Also, please note that the views expressed here in the synopsis are those of the author alone, and do not necessarily reflect the opinions or views of the general content nature of this blog, per se. }

‘The Pioneer’ is a literary work on J.C.Daniel – about his art, cinema, culture and the man. The inspiration for the same was the seven State award-winning feature film called, ‘Celluloid’, made by renowned  film director, Kamaludeen (Kamal), which was  released on February 15^th 2013. It includes a critical evaluation of the Malayali psyche, with an analysis of the pioneers and masters in global, Hindi, Tamil and Malayalam cinema.

Man is a social animal, nay, a being created by god with a special status of just a step lower to him. Man is the best creation of God, the most intelligent of all the other creations, with vision and courage to discover, invent and innovate. Historically man evolved through ages of struggle, from the jungle life to the modern civilization. Science has supported this finding and the long march through the dust and smoke of ages set ground for settled social life of the animal called ‘social animal’. Art is a bye-product of this complicated process .It is the fore-runner of culture and civilization. Art can be defined as the depiction of man. It is the sense of beauty historically evolved that gave rise to art.

Cinema is the most powerful art form ever surfaced in history. J.C.Daniel was at last acknowledged by the government of Kerala as the ‘Father of Malayalam Cinema’. His pioneering feat of late 1920s was officially recognized only in 1992. Cinema emerged only in the last decade of 19^th century and it reached Indian shores in the starting years of 20^th century. The silent movies were followed by the talkies in the third decade of 20^th century,’ Jazz Singer’, the first talkie in the entire world (feature film)was released in 1927. Indian talkie followed in 1931 and the Malayalam talkie in 1938.

The work in  ten chapters include :

(1)  Celluloid, celluloid and celluloid

(2)  Cinema ‘kid’ to cinema ‘youth’

(3)  Vigatha Kumaran to Dental surgeon

(4)  P.U.Chinappa, Agastheeswaram, Harris

(5)  Chelangattu Gopalakrishnan

(6)  Lumiere Brothers to JC Daniel

(7)  Caste-ridden mental framework of Kerala

(8)  Masters and pioneers in Malayalam, Tamil and Hindi cinema

(9)  Art, Culture and man in Kerala

(10)  Cinema to Dilemma

The ten chapters, chronologically and to an extent philosophically, carry out treatment of the subject matter. Cinema itself is in a transition. It evolved in 1888, got revolutionised in 1895, with the entry of ‘Cinematograph’. Celluloid is in usage for the past 125 years, which has been the source of projection technology taking audience from silent movies to the talkies. Digital projection has come up slowly replacing celluloid, innovated in the making of ‘Avatar’ in 2009. It has been widely reported that this most modern technology of ‘digital projection’ is going to put an end to the conventional film reels, cinema halls etc. Cinema will be ‘dilemma’by the third decade of 21^st century starting up with the change in Hollywood in 2013 end and Europe in 2014 last. Digital method will be replacing the film reels with an electronic copy contained on a storage device, a high capacity hard drive and server. Movies will be telecasted to selected multiplex locations. May the human touch be retained inspite of the influx of all the hi-tech.

The book is meant to create historical insight and an intellectual stamina to create the future. Art, culture and man are inseparably binded together ultimately man, a better man is the goal of all art.

Bibliography

(1)  Cinema – Kalayum Jeevithavum by Thottam Rajasekharan

(2)  A survey of Kerala History by Prof: A. Sreedhara Menon

(3)  Malayala Cinemayile Vanavarum  Veenavarum by Chelangattu Gopalakrishnan

(4)  Nashta Nayika by Vinu Abraham

(5)  J.C Danielinte Jeevitha Katha by Chelangattu Gopalakrishnan

(6)  Script of the movie,”Celluloid” by Kamal

(7)  Textbook of World History, Part-2, Pre-degree Course of Kerala university, published in 1991.

(8)  Wikipedia notes on a variety of cinema related topics.

Projected Release 

It is hoped to have the book released in e-book format by the end of May, 2013.

{ Narayan is back with another quiz, on the fictional movie titles that had been a part of the story-line of some of the movies we have watched. Give Google a rest and see how many of these you can identify correctly. }

This time around, I warmly welcome you through a journey across my collection of Malayalam movie DVDs. Unlike my enviable collection of celluloid books, my collection of movies is smaller – and I can boast only of those movies which were mostly released in the last 6 or 7 years. Still I believe it would be of interest to the cinephiles.

Let me take you through the classics in my collection, you know of the vein created by Bharathan- Padmarajan- K.G. George et al. The pride of my collection is Oru Veshyayude Katha¹ directed by Suresh Babu. The movie won for its heroine Lekha the coveted Urvashi award. But it seems that she had a mild altercation with superstar Prem Sagar for acting in this movie. Lekha and Prem Sagar were a hit pair and he had accused Lekha of shifting camp and working in an art movie. Anyway after that Lekha was often found in the company of Suresh Babu. Her suicide with a couple of months of her getting the Urvashi award shocked the tinsel town. But this movie is superb to say the least. Around the same year Pappu² (aka Manoharan) also got the best actor in the Filmfare Awards. But unfortunately my copy of that movie is missing. Other classic movies I have with me are Dhanushkodi³ and Ullarakal both directed by Siddharthan. Siddharthan was a versatile genius and his mysterious death- some say it was suicide, some say it was murder, but anyway it seems that his son Adi Siddharthan is hell-bent on finding the truth about the death of his father.

I am a huge fan of our Superstar triumvirate- you know Ajaychandran-Ashok Raj and Saroj Kumar. Of the movies of Ashok Raj I have with me Pakshikal Parakkatte⁴ and Gujarat. Pakshikal Parakatte is a wonderful movie, and it was during the course of the movie being shot at Melukavu that Ashok Raj reunited with his long lost friend, barber Balan. It was after acting in Gujarat that Ashok Raj faced some death threats and his security was tightened. Ajaychandran burst into Malayalam film industry as a villain and slowly and steadily became a superstar. His first movie was Kazhinja Manjukalam⁵ in which he was a villain- while the lead was portrayed by Shekhar and Malavika. Shekhar slowly faded out from the industry while Malavika later became Ajay’s wife – in a short lived marriage. Rudhiram (in which Ajay portrays a police officer), Kaalam, Orma, Chembakapookkal etc. are some of the movie of this superstar which I have with me. It seems young director Akbar Ahammed (who directed the super hit Brothers) is planning to do a movie about the tumultuous life of Ajay and Malavika and the present day whereabouts of Malavika. I don’t know how Saroj Kumar became a superstar or how he won a National Award for best actor. It was director Udaybhanu’s Annu Peytha Mazhayil ⁶ which catapulted Saroj into fame- and the credit goes to the director more than the actor. Saroj’s acting in Doshayum Chammanthiyum⁷, Kadal Kaakkakal, Vekkeda Vedi and Hill Station is without mincing words boring to the core. I also got with me two of ace director Adithyan’s super hit movies- Fighter⁸, starring the obnoxious self-styled superstar Premanand and Hero featuring debutant- stuntman turned actor Tarzan Antony. Both are action movies and not exactly my cup of tea. Like Premanand another obnoxious self-styled superstar is Ravi Prakash. He had in fact even tried to financially wipe-out producer Jose – who had given him the first break in movies like Nerkkuner⁹ and Cowboys. But Jose ultimately prevailed and cast his cameraman Sajan in the movie Madangiyethumbol and the same proved to be a super hit. Our Jose is now a happy man. Like Jose, Madhavankutty of Mullasserry also took a huge risk pledging everything for the sake of his movie Oru Swapnathinte Katha¹⁰. Thankfully the movie proved to be a hit in the box office.

Enough of superstar movies. Let me take you through other movies in my collection. Dosha Raghavan¹¹ which catapulted its star into near super star status and Cinema Company ¹²- the movie which starred young actor Rajeev which again was a super hit adorns my library. Asurappada along with New Face ¹³, Sappidum Selvan¹⁴, Boat Jetty, Munthani Kadavathu along with Naattu Manga Naattu Manga¹⁵, Maharajan¹⁶, Kannadi ¹⁷, Achanorumma ¹⁸and some old movies Kunnathur Kotta¹⁹ and Vellaripravinte Changathi²⁰ are the pride of my collection. Kunnathur Kotta was a huge hit- but the lead actress who had to act in a controversial bath scene was found dead in mysterious circumstances soon after. Vellaripravinte Changathi languished in the cans for more than thirty years. Ultimately the director Augustine Joseph’s son Manikunju took the initiative and got released the movie a couple of years back. The movie starred new faces Mukkom Shahjahan and Mary Varghese who portrayed lovers belonging to different castes. It seems that after the shooting of the movie both of them tried to elope. Had the movie been released, it would really have changed the life of all associated with it. Achchanorumma is a pucca tearjerker while the short film Kannadi directed by Hari might not be to everyone’s taste. I remember reading this folktale in the Children’s magazine Tinkle in the Eighties. But still, I enjoyed these movies. Maharajan starred a newcomer, he faded out of the scene- but is more remembered for the war of egos he had with superstar Jairaj.

Earlier I had mentioned that action movies are not my cup of tea. But I like the slapstick action comedies and my favourite actor in this realm is Ashok Chakravarthy. I got with me Cowboy Venu²¹, Coolie Mani, Gilla III, Bhumi III, Rowdy Rajan etc. and Ashok Chakravarthy’s impersonation of Amitabh Bachchan, Hrithik Roshan and Akshay Kumar make for hilarious viewing.

I have also managed to salvage three old video cassettes that were left rotting behind the rack. Have to convert them to DVDs. The first one is a movie starring Prem Nazir²². It was during the shooting of this movie that he had been kidnapped by a group of unemployed youngsters. Another movie – again the title of which evades me is one which starred actress Sneha²³. She was kidnapped by one Jeevan during the shoot of the movie, but later the producer cast him in the main role opposite Sneha. The IV Sasi thriller starring Soman²⁴ (I think it was shot in Bharani studios) was a huge hit- though the shooting was disrupted by a man named Vijayan. Anyway a trivia, this Vijayan later became a CID with Tamilnadu Police Department. Another thriller I have with me is a Mammootty movie directed by Priyadarshan²⁵ wherein he acts as a police officer. Thyagarajan also acted in this movie. It was during the time of this movie that Mammootty helped three youngsters who were accused of murder in a train and but for Mammootty’s intervention, the three would have languished in jail. Will have to clean the videotapes and find out the titles. And I also found a copy of the Malayalam dubbed movie Namma Ooru Shinkari²⁶ starring Khushboo. A bunch of youngsters had gone to meet Khushboo after seeing this movie and one of them called Dileep ultimately became the hero in a subsequent Khushboo movie.

PS : I also got with me a couple of A-rated movies which blazed our screen- starring the dream girl Nisha including Hi Malini²⁷, Miss Thushara and her debut outing Puthuvasantham (with actor Najeeb),and no I won’t give you the copy of these DVDs.

But, you can get all these movies from Chandy’s Videos.²⁸

Related :  The Magic of those Fictional Reads from Malayalam’s Celluloid book shelves.