[ SPOILERS AHEAD ! ]

വിശ്വനാഥൻ ആ നാട്ടിൽ വന്നത് പടം വരച്ചു കളിയ്ക്കാൻ ആയിരുന്നില്ല . അലസമായ നടത്തയും തീഷ്ണമായ കണ്ണുകളും ഉള്ള വിശ്വനാഥന്റെ ഉള്ളിൽ പക്ഷെ ഒരു അഗ്നിപർവതം  ഉണ്ടായിരുന്നു . ആ നാട്ടിലെ താറാവ് കച്ചവടക്കാരൻ പൈലിയും ആയി ചങ്ങാത്തം കൂടിയതും അതിനു തന്നെ . വർഷങ്ങൾക്കു മുൻപ് തന്റെ ഇളയമ്മയും പൈലിയും തമ്മിലുള്ള അവിഹിതത്തിന്റെ ഓര്മകളും അതിന്റെ അനന്തര ഫലങ്ങളും വിശ്വനാഥനെ വേട്ടയാടുന്നു . അതിൽ പൊലിഞ്ഞത് വിശ്വനാഥന്റെ സ്വപ്‌നങ്ങൾ ആയിരുന്നു ജീവിതം ആയിരുന്നു. നേരിട്ടുള്ള പ്രതികാരത്തിനെ കാൾ  വിശ്വൻ തിരഞ്ഞെടുത്തത് വേറൊരു വഴി ആയിരുന്നു. പൈലിയുടെ മകൾ അമ്മിണിയെ പ്രേമിക്കുക, അല്ല പ്രേമിക്കുന്നതായി നടിക്കുക .എന്നാൽ യഥാർത്ഥത്തിൽ വിശ്വന് സ്നേഹം സുശീലയോട് ആയിരുന്നു. വിശ്വനാഥൻ പൈലിയുടെ ഉറ്റ സുഹൃത്തായി . ഒടുവിൽ വിശ്വൻ അമ്മിണിയെ അറിയുന്നു …മധുരമായ പ്രതികാരം അവിടേം നിന്നില്ല അമ്മിണിയുടെ ശരീരത്തിന്റെ മധുരം നുകർന്ന് പിരിയുന്ന നേരം ആരും അറിയാതെ താറാവ് തീറ്റയിൽ വിഷം കലർത്തുന്നു.

ഇതാ ഇവിടെ വരെ – യിൽ നിന്നും ഒരു രംഗം.

പിറ്റേന്ന് കായലിൽ ചത്തൊടുങ്ങിയ താറാവുകളെ കണ്ടു ഞെട്ടിയ പൈലി സത്യം അറിയുന്നു. പിന്നെ പതിവ് പോലെ സംഘട്ടനം . എന്നാൽ വിധി ആണ് പൈലിയുടെ ജീവൻ എടുക്കുന്നത് . ഇതിനിടെ സുശീല വേറെ വിവാഹം കഴിച്ചു പോയിരുന്നു. വിശ്വൻ തിരിച്ചു അമ്മിണിയുടെ അടുത്ത് വരുമ്പോൾ അമ്മിണി അയാളെ നിഷ്കരുണം തള്ളി വള്ളം തുഴഞ്ഞു മറ്റേതോ കരയിലേക്ക് പോകുന്നു. സ്വാഭാവികമായ ഒരു ക്ലൈമാക്സ്‌ ആയിരുന്നില്ല അത്. എല്ലാം നേടി എന്ന് അഹങ്കരിച്ചിരുന്ന വിശ്വൻ എല്ലാം നഷ്ടപെട്ടവൻ ആയ നിമിഷം.  വിശ്വനാഥൻ ആയി  സോമനും, പൈലി ആയി മധുവും, അമ്മിണി, സുശീല ഇവരെ ജയഭാരതി, വിധു ബാല എന്നിവരും അവതരിപ്പിച്ചു . ബഹദൂർ, അടൂർ ഭാസി, ഉമ്മർ, കവിയൂര് പൊന്നമ്മ, ബഹദൂർ,ശ്രീലത  തുടങ്ങി ഒരു നീണ്ട താര നിര  ഉണ്ടു ഈ ചിത്രത്തിൽ.

1977 - ഇൽ ആദ്യമായി പദ്മരാജനും ഐ വി ശശിയും കൈ കോർത്തപ്പോൾ മലയാള സിനിമക്ക് ലഭിച്ചത് എം ജി സോമൻ എന്ന ഒരു സൂപ്പർ താരത്തെ മാത്രമല്ല , ചെറിയ ഒരു വേഷത്തിൽ വന്നു പിന്നീട് മലയാള സിനിമയുടെ നാഡിമിടിപ്പ്  ആയി മാറിയ ജയൻ എന്ന നടൻ കൂടിയാണ് . മധുവും സോമനും മത്സരിച്ചു അഭിനയിച്ച ഈ ചിത്രം യൂസഫലി കേച്ചേരി എഴുതി ദേവരാജൻ മാസ്റ്റർ സംഗീതം നൽകിയ ശ്രവണ സുന്ദരമായ ഗാനങ്ങൾ കൊണ്ട് സമ്പന്നമായിരുന്നു. പ്രണയ രംഗങ്ങളിൽ അത്ര ശോഭിക്കാത്ത സോമൻ അഭിനയിച്ച “വെണ്ണയോ വെണ്ണിലാവു ഉറഞ്ഞതോ” എന്ന ഗാനം ഉൾപെടെ അഞ്ചു ഗാനങ്ങൾ ആണ് പഞ്ചപായസം പോലെ ഇവർ വിളമ്പിയത്.

വെണ്ണയോ വെണ്ണിലാവു – ഇതാ ഇവിടെ വരെ

പടത്തിൽ ഉടനീളം വിശ്വനാഥൻ പറയുന്ന “ഇതാ ഇവിടെ വരെ” എന്നാ പേരിലും ഒരു ഗാനം ഉണ്ടായിരുന്നു. തുടർന്ന് സോമൻ മലയാളത്തിന്റെ ക്ഷുഭിത യൗവ്വനം ആയി മാറി . പിന്നീട് ശശി ചിത്രങ്ങളിലെ സജീവസാന്നിധ്യം ആയിരുന്ന സോമൻ ശശിയും ആയി പിണങ്ങി . വർഷങ്ങൾക്കു ശേഷം  കമലഹാസൻ ഇടപെട്ടു അവരുടെ പിണക്കം മാറ്റി. തുടർന്ന് ഐ വി ശശിയും കമലഹാസനും ഒന്നിച്ച അവസാന ചിത്രമായ വൃതം (1987) എന്ന ചിത്രത്തിലൂടെ സോമൻ വീണ്ടും ശശി പാളയത്തിൽ എത്തി . പുതിയ തലമുറയിലെ എന്റെ കുഞ്ഞുങ്ങളെ “നേരാ തിരുമേനി ഈപ്പച്ചൻ പള്ളികൂടത്തിൽ പോയിട്ടില്ല ” എന്ന  സോമനെ മാത്രമേ നിങ്ങള്ക്ക് അറിയൂ . പ്രണയ രംഗങ്ങൾ ഒഴിച്ചാൽ മനോഹരമായ ഒരു നിഷേധി ആയിരുന്നു മലയാള സിനിമയിൽ സോമൻ. ഐ വി ശശി ആകട്ടെ ഏതു പാത്രത്തിലും നിറയുന്ന വെള്ളവും . ടി ദാമോദരൻ , ഷെരീഫ്, എം ടി വാസുദേവൻ‌ നായർ, പദ്മരാജൻ തുടങ്ങി രഞ്ജിത്ത് വരെ ഉള്ള എഴുത്തുകാരെ അവർ അര്ഹിക്കുന്ന രീതിയിൽ ബഹുമാനിച്ചു ചിത്രങ്ങൾ എടുക്കാൻ ശശിക്ക് ഒരു പ്രത്യേക കഴിവുണ്ടായിരുന്നു

ഒരിക്കൽ നിറഞ്ഞും ഒരിക്കൽ മെലിഞ്ഞും ഒഴുകുന്ന പുഴയിൽ കാൽ നനച്ചു കാലം മുന്നോട്ടു പോയി. ഇരുപതു വര്ഷത്തിനു ശേഷം 1997 - ഇൽ ജോസ് തോമസ്‌ ഒരു ചിത്രവും ആയി വന്നു. ചിത്രത്തിന്റെ പേര് അടിവാരം. വിജയരാഘവൻ, മുരളി, ചാർമിള –  ഇവർ സ്ക്രീനിൽ. ഫേസ് ബുക്കും വിപുലമായ നെറ്റും ഇല്ലാത്ത ആ കാലത്ത് ആ ചിത്രം കണ്ടവര്ക്ക് പെട്ടെന്ന് മനസ്സിലായില്ല എങ്കിലും, പഴയ തലമുറ തിരിച്ചറിഞ്ഞു –  അത് “ഇതാ ഇവിടെ വരെ ” തന്നെ ആണെന്ന്. സന്ദർഭങ്ങൾ മാറി, ആളുകൾ മാറി, പക്ഷെ കഥ മാറിയില്ല ! വലിയ വിജയം ഒന്നും നേടിയില്ല ഈ ചിത്രം.കുളിർ  പെയ്ത മാമഴയിൽ നനഞ്ഞ പടക്കമായി ആ ചിത്രം.

വീണ്ടും  13 വർഷങ്ങൾ. ഇത്തവണ വന്ന വിശ്വനാഥന് നിഷേധിയുടെ മുഖം മൂടി ഇല്ല. ശാന്തൻ ! കമൽ സംവിധാനം ചെയ്ത ആഗതൻ (2010) ആയിരുന്നു ആ ചിത്രം  ഇതാ ഇവിടെ വരെ പോലെ വില്ലനും നായകനും തമ്മിൽ അടിച്ചില്ല . താറാവ് പൈലി ഇത്തവണ പട്ടാളക്കാരൻ ആയി. സത്യരാജ് ജീവൻ നൽകിയ ആ കഥ പാത്രത്തിനു ശബ്ദ സാന്നിധ്യം ആയി സായികുമാറും ഉണ്ടായിരുന്നു.മകളുടെ വേഷം ചാര്മിയും. ശരാശരി ചിത്രത്തിൽ ഒതുങ്ങി അത് .

മൂന്നു വർഷങ്ങൾ ഇതാ ഇവിടെ വരെ നിശബ്ദമായിരുന്നു . വരാനിരിക്കുന്ന കൊടുങ്കാറ്റിന്റെ നിശബ്ദത .. ഈ കഥയുടെ നാലാം ചിത്രം ഈ കഥയുടെ ഏറ്റവും വലിയ അപമാനം ആയി എന്ന് പറയാം . പദ്മകുമാർ സംവിധാനം ചെയ്ത ഇത് പാതിരാ മണൽ.

എല്ലായിടവും പിഴച്ചു പോയ ചിത്രം. നിഷേധിയായ സോമന്റെ വിശ്വനാഥന് പകരക്കാരൻ ആയതു ആ അഭിനയത്തിന്റെ ഒരു ശതമാനം പോലും മുഖത്ത് വരാത്ത ഉണ്ണി മുകുന്ദൻ, (ക്ഷമിക്കുക , ആ ചിത്രം കണ്ടവർ എന്നോട് ചേർന്ന് നില്കും എന്ന് ഉറപ്പാണ്‌ ) നായിക, അതായതു വില്ലന്റെ മകൾ ആയി രമ്യ നമ്പീശൻ . ഇനി വില്ലനോ ? പ്രദീപ്‌ റാവത്ത് . ഓർമ വരുന്നില്ലേ ? നമ്മുടെ ഗജിനി . മോശം പറഞ്ഞൂടാ, അഭിനയം നന്നായി അറിയാം ആ നടന്, പക്ഷെ അറിയാത്ത ഭാഷയിൽ ഇത്രയും വലിയ കഥ പാത്രം എടുത്തു തലയിൽ വച്ച് കൊടുത്താലോ . ജയസൂര്യ അഭിനയിക്കേണ്ടിയിരുന്ന വേഷം ആയിരുന്നു. ഒരു അപകടത്തിൽ പെട്ട് ജയസൂര്യ കിടപ്പിൽ ആയപ്പോൾ പകരക്കാരൻ ആയി വന്ന ഉണ്ണി മുകുന്ദന് പക്ഷെ മുഖത്ത് പ്രത്യേകിച്ച് ഒരു ഭാവവും ഇല്ലായിരുന്നു ( ആ കിടപ്പിൽ ജയസൂര്യ ബ്യൂട്ടിഫുൾ ചെയ്തു . ഉർവശി ശാപം ഉപകാരം )

ദോഷം പറയരുതല്ലൊ, ഇതിനിടെ ഏകദേശം സമാന കഥയും ആയി പ്രിയനും ചെയ്തു ഒരെണ്ണം - ഒരു മുത്തശ്ശി കഥ (1988) . പക്ഷെ അതിൽ വില്ലന്റെ മകളെ പ്രണയിച്ചു വഞ്ചികുന്നില്ല, പകരം കല്യാണം കഴിഞ്ഞു വഞ്ചിക്കുന്നു എന്നെ ഉള്ളു !

ഇനിയും ക്ളോണ്‍ ചെയ്ത താറാവു കൂട്ടങ്ങളും ആയി  പൈലിമാർ ഈ വഴിയെ വന്നു കൂടെന്നില്ല.

Courtesy : KK Vin

Do you remember watching the Shankar-Gowri love story-based on a screenplay by MT Vasudevan Nair unfolding on the big screen?

A poignant tale of two lovers kept in captivity, who were made to dance to the cruel tunes of their masters ? Two lovers who decided to escape from the chains and clutches of the evil villians, to everlasting freedom. Produced by Gandhimathi Balan, the movie was a runaway hit when released in 1985 and most probably every 33+ kid out here might have watched this movie. Shankar and Gowri- the hit pair, were newcomers and to the best of my knowledge, their only screen outing ever. Here is a clue if its still hazy – Shankar and Gowri were monkeys, and the movie was Kaadinte Makkal, released in 1985.

As a kid living in Thiruvananthapuram during the 80′s, the highlight was going to Sreekumar theatre to see live action movies in which animals were the stars. I remember seeing some of the Lassie movies, a few in the Benji series, The Ugly Dachshund, The Cat From Outer Space, Monkeys Go Home, The Horse in the Grey Flannel Suit, That Darn Cat, Zebra in the Kitchen, Clarence the Cross-eyed Lion, The Last Giraffe, Bedtime for Bonzo and its sequel Bonzo Goes to College, Digby: The Biggest Dog in the World, Born Free, Living Free, The Shaggy Dog and its sequel The Shaggy DA, The Million Dollar Duck, The Black Stallion Part I and II, The Golden Seal etc. Dean Jones (not the cricketer) was my Hollywood hero.

Dean Jones – Hollywood Actor

I also was a serious reader cum collector of the Enid Blyton animal books like Shadow the Sheepdog, Bimbo and Topsy, and of course of our Aithihyamala and Panchathantra stories. However, as I entered my teens, I deemed these things “kids stuff” and went into more serious movies! These days, I am a closet connoisseur of these types of movies- I buy them ‘for my kids’ and the movies that I ‘casually happened to buy’ include DVD’s of Black Beauty, Babe I & II, Racing Stripes, Bringing Up Baby, National Velvet, Beethoven Pentalogy, K-9 Trilogy, Dr. Dolittle series, Flipper, Horse Whisperer, Free Willy series, 101 Dalmatians, 102 Dalmatians, Dunston Checks In, Turner & Hooch, See Spot Run and more recently Furry Vengeance and Mr. Popper’s Penguins.

Dunston Checks In Movie Trailer (1996)

But animal movies, it seems, have been given a clean go by as far as the Malayalam film industry is concerned, and for that matter Indian film industry as a whole. This is most surprising because the most popular of the international animal movies – the classic Jungle Book (and a sequel Jungle Book II released almost 35 years after the original) is set in India. I still believe we haven’t yet exploited this genre to its fullest. Most often, animals were shown in the background of circus movies like Nayaru Pidicha Pulival (1958), Valarthu Mrugangal (1981)and Joker or in movies like My Dear Karadi, The Guard, Bhoomiyude Avakashikal, Ezhamathe Varavu etc. Actually, ‘background’ might be a phrase too mild to express their presence.

Who can imagine a movie like Itha Ivide Vare without the താറാവുകൾ; or Vijayanum Veeranum without Jose Prakash and his മുതല കുഞ്ഞുങ്ങൾ; My Dear Karadi without the കരടി and the recent movie Pigman without Suraj Venjaramoodu and the പന്നികൾ. How can one explain the psyche of one of the protagonists without the presence of the tiger in Ezhamathe Varavu? And who was the real anti-hero in Mrigaya- the leopard of course. And what made Ividam Swargamanu truly divine? It was Mathews (Mohanlal) and his farm with all types of cattle. Still remember Mohanlal’s dialogue “അവള്ക്കെ..ഒരു പശുവിൻറെ മുഖമോണ്ട്…അതാ എനിക്കവളെ ഇഷ്ടമായത്…” But in all these movies the animals themselves were never the stars- and sometimes (e.g.:- Nayaru Pidicha Pulival) they became a tool just to show the brawn and bravery of the hero. They were just there –  that’s it. That said; there have been sporadic instances in which animals became the real stars on screen.

Jose Praksh’s Epic Muthalakunju Scene

Which was our first “Beautiful People” starrer ? Subject to correction I believe that Aana Valarthiya Vanambadi (1959) was our first animal- jungle movie. Though Miss Kumari played the titular role- the honours went to Bheeman (elephant) and Pedro aka Aadiyappan the monkey. The movie was followed 12 years later with the sequel Aana Valarthiya Vanambadiyude Makan.

The ‘Elephant’ Decade in Malayalam cinema

The 70′s had some interesting ‘Elephant movies’ hitting the screen. Sindhooracheppu (1971) with Madhu in the lead; Aanappachan (1978) with Prem Nazir and the classic Guruvayur Keshavan (1977) won accolades and were super hits. And Malayalees have always had a special liking for elephants and every two or three years an elephant movie used to hit the screens. Later years had movies like Kolakkomban, Aanakkorumma, Adiverukal, Aanchantham, the classic Gajakesariyogam, Prayikkara Pappan, Gajarajamanthram, Pattabhishekam – all had elephants playing a very important role. The love that exists between the protagonist and the elephant; or the concept of “an elephant never forgets” (!) had been convincingly exploited by the makers of these movies. I must also mention that elephant movies have also been popular in other parts of India. Who can forget the classic Haathi Mera Sathi starring Rajesh Khanna and the 1990 Tamil movie Durga (starring Baby Shyamili); or the popular television serial Appu aur Pappu – but by and large it has been the Malayalam film industry which has exploited the psyche of elephant love.

Guruvayur Keshavan (1977)

Ramu Kariyattu experimented with Ammuvinte Aattinkutyy – released in 1978. As the title suggests- the love and affection between a young girl and her goat is the crux of the plot. Based on a poem by KSK Thalikkulam, the movie moved on sentimental lines – with the buyer of the goat who had intended to have it for supper returning it to Ammu seeing her love and affection for it. The upcoming movie Aadu Oru Bheekara Jeevi Alla  - it seems will also have a goat in the leading role. Let’s wait and see how the movie fares.

At this juncture, I must also mention a beautiful people movie that still languishing in the cans. ‘Snehapakshikal’ – a movie for kids, by the late Beypore Mani (2004 – his last movie) that couldn’t see the light of day because it was mired in Censor controversy was the tale of a warm, loving family and the three main protagonists – Chikku the rooster, Chinnu the hen, and Manikutty the calf. Problems over its release arose from the moment the film was submitted to the Censors – particularly over a scene where the character says that the hen has been killed and eaten. The Censor Board was insistent that the producer ‘produce’ the hen before them to show that no animals were harmed or killed during the shooting of the movie ! By that time the owner of the hen had sold the same, and nobody had any idea what happened to it - and to this day Snehapakshikal languishes in the can.

However, “Man’s best friend” –  the dog, has not been shown as heroes on screen. Save for Jimmy (1978) a horror-cum- investigative thriller in which the title role was portrayed by a dog; Mudramothiram ( 1978 ) with Julie the dog  who was the only friend of the orphaned child protagonist; and years later with CID Mososa- with the German Shepherd Arjun helping Moosa in his investigations – dogs seldom have taken centre space in Malayalam movies. Kummatti (1979) is another movie which deserves mention. A Kummatti, as part of his shape shifting magic changes children of a village into animals for a brief time. Within minutes he reverts them to their original- save for a young boy whom he misses out. How the boy/ dog – goes after the Kummatti to get back his original figure is the story of this Aravindan movie.

Daivathin Veedevide from Mudramothiram ( 1978 )

Kummatti and the aforementioned Ammuvinte Aattinkutty were a part of the double feature of Doordarshan way back in the Eighties on Children’s day – but am not sure that a Vcd/Dvd of the same is available. And as I write this, the Dileep movie Ringmaster is creating a box-office ruckus - with  Toby (a St. Bernard) and Diana (a German Shepherd) playing  a pivotal role in the success of this movie. Being a dog lover myself – I for one would sure like more canines onscreen in leading roles,  and frankly would welcome a movie franchise like that of Benji or Lassie in Malayalam.

But  the best ’Beautiful People’ movie in Malayalam, still happens to be  Kaadinte Makkal and will remain so. This is the best animal movie I saw – way back in the mid – 80′s as a 8 or 9 year old kid with my parents. And I hope one day I would be able to enjoy this movie with my kids - sooner than later.

Whom do I credit this masterpiece with? Should I thank Madhavi Kutty for her book ‘Nashtapetta Neelambari‘, on which this movie is based? For who else could have traced the internal journey of a woman’s life within the rigid framework of a society bound by convention, and brought it into narrative with this degree of perfection? Or should I thank Lenin Rajendran who gave a visual dimension to this narrative, unfolding for us on screen a character that every Indian woman with a free spirit would relate to? Bhadra, as a character, had a magical appeal to the woman in me.

The movie commences on the mesmerising notes of the Neelambari. To me, Neelambari was the soul of this movie. A symphony that reverberated with bitter-sweet nostalgia. A symphony that reverberated with the sanctity of a woman’s first love. Love that so often culminates in pain, only to be tucked away into some deep recess of her mind.

Bhadra, the female protagonist of the movie, is the only child of her parents. Her parents are affluent and she is raised liberally. The movie begins with the family moving from the city to Shivapuram – a beautiful village, where Bhadra’s father hails from. Although hesitant at the outset, Bhadra adapts with ease to her new environment. Her love for nature and music help Bhadra discover a new significance at this new place.

Love makes its entry into Bhadra’s life the way it often does – unannounced and phenomenal, planting the most beautiful dreams in the courtyard of her mind. In the dim – lit passage of a beautiful temple, Bhadra finds herself mesmerised by the Neelambari that seems to rise out of nowhere, making her pause in her steps, entranced and enthralled. She seeks the owner of the voice that seems to have awakened her very soul. Thus begins the romantic interlude between Ramanujam Shastri and Bhadra, a love story that seems to have captured the most poetic imagination.

Biju Menon as Ramanujam Shastri

The relationship between Bhadra and Ramanujam Shastri is evocative at multiple levels. It marks for Bhadra her first bout of self-revelation. As she herself describes in the movie, the first verses of a woman’s autobiography. The movie powerfully portrays Bhadra’s transition from childish oblivion to the passionately throbbing womanhood that thrives within her, rich with dreams and desire. Love colors Bhadra’s world in ways she could never have imagined. She finds immense beauty in the sights and sounds of that little village, for they seem to mirror her own state of mind. Bhadra discovers poetry as her emotions brew into a frenzy, seeking an outlet. And thus, the movie treats us to some beautiful lyrics and songs that weave themselves indiscernibly into this brief episode of the most beautiful love story one can conjure. I was floored by the ingenuity with which love was portrayed in this movie, for it was at a purely artistic and aesthetic plane, the way first love so often is – right out of one’s dreams. Love that is tender and passionate, so full with desire, and yet so devoid of lust. Love that resides in all the silences and unspoken words. Love that is soul to soul, oblivious to all the existing differences, barriers and constraints.

Ithramel from Mazha (2000)

As is the case with life, reality puts a harsh brake on one’s dreams. So it is in this movie, where Bhadra’s parents terminate the affair by arranging for the marriage between Ramanujam Shastri and his cousin, Jnanam- an obligation that finally claims itself. A heartbroken Bhadra watches on as Ramanujam Shastri ties the knot, while he subjects himself to the proceedings, helpless and mute. Bhadra returns home and moves out of Shivapuram with her parents. With the tragic end of her first love, Bhadra also bids goodbye to a part of herself- the part that she associates with her love. She gives up her poetry and the passionate being that she had discovered in Shivapuram.

Aaradyam Parayum from Mazha (2000)

Bhadra lives a conventional life, in touch with the harshness of reality. She studies medicine and becomes a sensitive, empathetic doctor, liberating her pain in alleviating the suffering of her patients. The second part of the movie introduces us to a Bhadra who seems to have come to terms with the bitter truths of life. She is now married to a rich and successful software engineer, Chandrashekhara Menon. Chandran is not perhaps a bad human being, but he represents the prototype of the Indian male, with an ego, groomed and conditioned by the male supremacy outlook of a conventional Indian society. His perspectives on the roles of a man and woman and their mutual expectations from marriage are very stereotyped and so, he fails to understand Bhadra’s emotional needs. This leads to frequent clashes between the two, and their marriage is an ocean that raves and rages, and then stills as they both attempt to prevent it from fragmenting, only to lash out again.

The specialty of this movie is that the storyline and the ending are of only secondary importance. The essence of the movie is Bhadra’s personality – a woman who awakens us to the fact that as women living in contemporary Indian society, we are vulnerable to the currents of life – far more than men in this society.Our lives might lie at the mercy of our primary caretakers and the men we marry, but our minds- we alone own possession of that mind. The movie highlights the fact that even within the rigid framework of this orthodox society, the mind is a free bird.

Varmukile from Mazha (2000)

In the movie, Bhadra is the ultimate survivor. Her reactions to tragedy are contrary to expectations. Upon the loss of her first love, Bhadra does not crumble, nor does she despise Ramanujam Shastri. She preserves him as an idol of worship in the temple of her mind, for it was he who gave form to her most precious dreams. She also does not ‘hate’ her husband, Chandrashekhara Menon. She is in acceptance of his personality and her fate, and maintains that emotional distance in her marriage that would stop her from expecting the intellectual and sensual chemistry that was integral to her concept of love. She preserves an independent identity all along, never attempting to own anything or anybody. For she is aware that she owns her perceptions and memories and her only commitment is to these perceptions that define love for her.

The message of the movie is clear. A woman’s mind is a sanctum sanctorum, within which she guards the most sacred of her emotions, the most beautiful of her perceptions. It is in this temple of her mind that she liberates herself, unrestricted. She, and only she, has access to this most beautiful of temples.

Samyukta was the perfect choice for Bhadra. Biju Menon and Lal played their roles to perfection. The movie was all in all, an aesthetic treat for the visuals were striking and the music was powerfully evocative. The dialogue delivery and the intended accent falter at places, but the overall impact of the movie made these insignificant.

Aashadam Paadumbol from Mazha (2000)

The 8th edition of SiGNS , the the pioneering festival in India for digital videos featuring national level competition for documentaries and short fiction, competing for the prestigious John Abraham National Awards, is on from May 28 – June 1, 2014 at Kochi, organised by the Federation of Film Societies of India - Keralam. The John Abraham Awards was instituted in 1999 by the Kerala Region of Federation of Film Societies of India in memory of JOHN ABRAHAM, the filmmaker who was the guiding spirit behind radical initiatives for people’s cinema.

From 2005, the competition was extended to the national level, and the festival was renamed as SiGNS, with a focus on documentary and short films in video format. In to its 8th edition this year, SiGNS has carved a niche for itself in the festival map in India.

The Award categories this year include Short Features, Documentaries,Cinema of Resistance and Cinema Experimenta.

The jury for the 2014 edition includes film maker Madhushree Dutta as the Chairperson with
Riyas Komu and K B Venu completing the team.

This edition also includes homages to Alain Resnais (1922-2014), C N Karunakaran (1940-2013), K K Chandran and Razak Kottakkal.

Dr C. S. Venkiteswaran, the Artistic Director of SiGNS 2014 has extended a warm welcome to all those who love the art of cinema, through this blog, to be a part of this enriching movie experience.

For more details, checkout the official website of the Festival here.

The 8th edition of Reverberates is here, which means the hugely popular, or at the risk of saying, the most popular Film Quiz on Malayalam cinema is back. Chitramela 2014, will be hosted by Prasanth Vijay and Dr Nirmal Joy, at the GV HSS Nadakkavu, Kozhikode on Sunday, 8th June, 2014 at 4 pm – with www.m3db.com as their official database and knowledge partner for the event.

Chitramela 2.0 is being hosted in association with the Quiz Society of India, and promises to bring more excitement with the biggest quiz show based on Malayalam cinema history at the school premises.

When : Sunday, 8th June 2014. 4 Pm onwards.

Where : GV HSS Girls, Nadakkavu, Kozhikode.

As with the previous event, the Quiz Masters have graciously agreed to share the entire Questionnaire’ sets of the Prelims and the Final, as and when possible with the blog. This will be a fantastic way to have those who have not had a chance to participate in the event, to know and learn, and also stay as a reference document for all those who love knowing more on Malayalam cinema and its colorful history ( pun intended ).

So, at the risk of repeating, if you are at Kozhikode this Sunday, and you are reading this, there should be no excuse for missing this event.

Its movie history, you know. And hence it is sheer, delightful madness to dive in.

The Superb Location of the Event has its own story, you see.

Image Courtesy & Credit : My Recipe 4 U

After a two-month hiatus, the adda has been dusted, mopped and spruced up – in a way, the sprucing up bit was badly needed, to keep in tune with the times.

Here is how the “sprucing up” has manifested in terms of Content and Design.

1. The Blog Is Responsive.

Which simply means that the blog now “adapts” to whichever device you are reading it on, be it your Smart phone, tablet, laptop or your desktop seamlessly so that you can now access it On-the-Go.Simply put, the sepia trip is now enabled across all screens.

2. An online compilation of Books on Malayalam and Indian Cinema.

Thanks to Adv Narayan, we now have a repository of book titles authored on and by film makers, both from Malayalam and Indian Cinema, which you can access on the Main Navigational Bar as the OMC Library. Yours truly has just begun “serving” the exhaustive list in a web-friendly manner and is a work in progress which is intended to finish soon. Each Book Title would be linked to its source of publishing ( if available online) or linked to its Offline address source so that you would know exactly where and how to get it. Once the primary set is done with, we would start adding titles from popular online book shops linked back to their product pages. All thanks to Adv Narayan.

3. A highly engaging and attractive way to feature the Profile Archives.

Thanks to the new adopted theme, the Profiles of various film makers compiled here at the blog ( more as archives of posts of the personality) has now been displayed in a highly engaging and informative way. It is again showcased from the Main Navigational Bar than runs right across the beginning of the blog under Profiles. You could check it out here.

Nearing Completion / Coming Soon.

1. A more Prominent Showcase of the Contributors to this Blog.

I believe this adda owes a lot of its success to the different flavors ( for want of a better term ) brought in by an invaluable bunch of contributors who pitch in, regardless of their grueling schedules and professional commitments to share their knowledge on Malayalam cinema here. It is only fair that their contributions be showcased prominently and never relegated to hard-to-find Links in the swirling content. So we are going to switch on the spotlight soon, on every single of them. :)

2. An Updated Video Gallery powered by the popular video sharing sites.

Yours truly have mulled, ruminated, considered, shot down, re-considered, weighed in and then again mulled over this for quite some time. The point of contention boiled down to “legal reliability” of the media found on the popular video sharing sites. After personally getting in touch with the most popular uploaders – both with media company monikers and personal accounts, I have narrowed down on a list of video content providers whose movies would be shared here at the blog as a separate section, in an alphabetic format. It would also be tagged with its year of release and the Director, so that one could easily search and find full-length Malayalam classics in a separate Video Gallery.

So there.

Do keep writing in with your suggestions, corrections and additional information on relevant posts. Together, it would make each post here a worthwhile fount of information on the topic, helpful for anyone interested in Malayalam cinema’s yester years.

And thank you all, once again, for being around.

From the Thin Red Line (1998)

Big B, Kamal Haasan, Rajni, Mammootty and Mohanlal to share screen in film project launched by Defence Ministry.

The Defence Ministry is all set to enter the tinsel town. For the welfare of the armed forces and to gather funds for the military, the Defence Ministry has come up with a unique idea of creating a movie that lauds patriotism. Last month Defence minister A.K. Antony and film directors J.P. Dutta and Major Ravi (Malayalam) had a detailed discussion regarding this project. Dutta and Ravi have since then submitted their thoughts to the Ministry.

In a joint statement issued by the Ministry, Dutta and Major Ravi- the plot line of the movie was revealed. – “India is under attack. Terrorists have launched a six pronged attack. They have targeted South, West, East, North and Central India. The Key centers are in 6 different parts of India (Chennai, Mumbai, Calcutta, Delhi, Hyderabad, Assam and Kerala). The Government gears up into action. The top brass of Indian defence- both in service and retired are summoned to Delhi. Yesteryear heroes like Dilip Kumar, Madhu, Jeetendra, Dharmendra, Shatrughan Sinha etc. will be portraying these roles. Nana Patekar, Om Puri and Nazeeruddin Shah will portray the top brass of Indian politics. Anyway they are unanimous in opinion that only one man is there to task manage the whole issue. The duty of task management is handed over to a Field Marshal (played by Amitabh Bachchan).

Major Ravi – Filmmaker

He coordinates the situation across India. The first task Bachchan takes is to find out the best, and brave people in each region to combat the terrorists. Thus the duty of South India falls upon Kamal Haasan, Rajanikant, Mohanlal and Mammootty; of Hyderabad with Nagarjuna and Chiranjeevi, Delhi with Shahrukh Khan, Amir Khan and Salman Khan etc.” This would be the Expendables of our movie industry- said Major Ravi. “Bachchan’s character would control everything from Delhi. Thus is born our desi Dirty Dozen. How they control everything and how within 24 hours everything gets all right forms the plot of the movie. Only in the climax would all the great actors of India come together.” Major Ravi sounded upbeat about this project. Himself a decorated army officer, Major Ravi was involved in the team that investigated the death of Rajiv Gandhi. His movies in Malayalam have all been centered in the world of army. Ravi also had introduced Big B to Malayalam cinema.

Prem Nazir in Ninamaninja Kaalpaadukal

This magnum opus project is tentatively titled India. The Ministry of Defence would request each actor to join this project, sans remuneration. “In this way we can gather the much needed resources for our defence forces” said a top defence official. Planned as a multi-lingual movie – it is also hoped to rope in regional stars for the project, with regional stars assisting the superstars of the region concerned. AR Rahman will score the music while Resul Pookutty will also be involved with the movie. However, JP Dutta added that the title of the movie is still tentative, and he would seek clarification from the Home Department on whether the word “India” can be used to promote a movie.

Major Ravi said that a project of this kind had happened in Malayalam called Twenty Twenty wherein each and every actor of Malayalam joined hands for a movie. However, this would be the first time actors across the nation join hands for a project of this magnitude.

To the question asked by is whether there top actresses of the nation would make appearance in the movie, Ravi answered that there will be only cameo appearances. We plan to cast Hemamalini, Sarada, Jaya Pradha, Shobhana, Aiswarya Rai and other famous actresses of India as the women waiting and praying for their near and dear ones in an extended song sequence.“ This is a full-blown action filled movie. And there are only few female roles. The part of the Prime Minister is proposed to be portrayed by Shabhna Azmi.”

However, the Ministry’s decision has come up for sharp criticism from the BJP. Ms. Meenakshi Lekhi, the National spokesperson for BJP commented that “as much as we welcome a move to harness funds for our defence forces, coming up with a plan on the eve of the elections being announced – reeks of malafide intent. It also would amount to violation of the Code of Conduct. However, the Defence Minister was quick to point out that politics and code of conduct should not prove a barrier for the welfare of our jawans. With a wry smile he also pointed out that though there is difference in political ideology sitting MPs like Shatrughan Sinha, Chiranjeevi, Hema Malini, Jaya Prada and Jaya Bachchan are involved with the project and requested that a project of this multitude should not be hampered by petty political differences.

India is set to hit the screens on April 1st 2015. The film makers and the crew, along with me wishes each and every one of you a HAPPY ALL FOOLS DAY.

:)

[ This came originally as a detailed response from Sajith Bhaskaran to a post here on S Janaki, and knowing the amount of information he manages to pack to each response, strongly warranted a "place" of its own, and hence this post. S Jankai, P Madhuri and G Devarajan have always been an intersting trio for any Malayalam music buffs who care about Malayalam Film Playback history, for the musical creativity and output between them and a certain degree of intrigue that surrounded the great music director's choices in vocals over some of the best-loved gems from Malayalam films of yore. Over to Sajith. ]

This is a note on the post of yours on the songs of S Janaki. Your selection of songs traverses through the path of Malayalam film music right from the sixties to the nineties.

In fact, HMV, in the late sixties released an album of selected songs of S Janaki and a few songs in that list are also found among your favourites.

The S Janaki Malayalam Hits Compilation LP brought out by HMV

The Playlist of the LP Compilation was as follows :

1. Keshaadi Paadam Tozhunne
Film : Pakal Kinaavu
Lyrics : P Bhaskaran
Music : B A Chidambaranath

2. Gopura Mukalil Vaasantha Chandran
Film : Vithukal
Lyrics : P Bhaskaran
Music : T K Pukazhenthy

3. Kannil Kannil Nokki Irunnal
Film : Danger Biscuit
Lyrics : Sreekumaran Thampi
Music : V Dakshinamoorthi

4. Taliritta Kinakkal
Film : Moodupadam
Lyrics : P Bhaskaran
Music : M S Baburaj

5. Oru Kochu Swapnathin
Film : Tharavaattamma
Lyrics : P Bhaskaran
Music : M S Baburaj

6. Vaasantha Panchami Naalil
Film : Bhaargavi Nilayam
Lyrics : P Bhaskaran
Music : M S Baburaj

7. Unarunaru Unni Poove
Film : Ammaye Kaanaan
Lyrics : P Bhaskaran
Music : K Raghavan

8. Unaru Vegam Nee Suma raani
Film : Moodal Manju
Lyrics : P Bhaskaran
Music : Usha Khanna

9. Aathira Kulirulla Raavilinnoru
Film : Madhuvidhu
Lyrics : ONV
Music : M B Sreenivaasan

10. Chirikkumbol Koode Chirikkan
Film : Kadal
Lyrics : Sreekumaran Thampi
Music : M B Sreenivaasan

11. Anjana Kannezhuthi
Film : Thacholi Othenan
Lyrics : P Bhaskaran
Music : M S Baburaj

12. Kanmaniye Kanmaniye
Film : Kaarthika
Lyrics : Yusufali Kecheri
Music : M S Baburaj

This record was very popular at that time and these songs subsequently appeared in the cassettes titled Hits of S Janaki in the 70s. It is very curious to note that even a single song composed by G Devarajan appeared in this list ?

What had always piqued my curiosity was why Devarajan chose P Susheela and P Madhuri for most of his songs. However, M S Baburaj was the musician who composed most of the so-called “ever-lasting classics” for S Janaki.

Five songs in the above list were composed by M S Baburaj, two by M B Sreenivasan and one each from K Raghavan, V Dakshinamoorthy, B A Chidambaranath, T K Pukazhenthy and Usha Khanna. The selection of the above songs also missed at least one song from A T Ummer and R K Sekhar who too had composed a part  of her popular hits repertoire.

In the nineties, Compact Discs appeared and in the year 1998 HMV released its first disc of S Janaki Hits (Digitally re-mastered in .wav format with 21 songs).

The price of the CD was Rs. 275 !  To the existing LP list of songs, HMV added 9 more tracks, as follows :

[ Please click on the song title to listen to the tracks ]

1. A very interesting film directed by John Abraham. Students of a school while playing football break the statue of the founder of the school. The film unfolds the efforts of the teachers and students to collect funds for installing a new statue in its place. They succeed in their efforts and the new statue is installed. The film ends with another bunch of students playing football and again breaking the new statue.

2. This song has a another version set in a different tune and different BGM sung by yesudas – A rare phenomenon of a same song having different tunes

3. In the CD version, the songs of A T Ummer and R K Sekhar appeared.

M S Baburaj was so fond of the voice of S Janaki like Madanmohan or Salil Chowdhury addicted to Lata Mangeshkar. S Janaki was the favourite of M B Sreenivasan, V Dakshinamoorthy, A T Ummer, K Raghavan, T K Pukazhenthy and R K Sekhar. Still I feel that all music directors composed for S Janaki and they all are very good songs. It was just that some lavishly adored her vocal prowess with their compositions, but others were  a little bit choosy, in their own professional ways.

As usual, would love to know your thoughts on this. Do write in.

Pix Credit : http://www.pradipsomasundaran.com/

[ Another treasure "reclaimed" from the defunct archives of DHOOL. Republishing Saravanan Natarajan's tribute to Raveendran Master, written in the year of his passing, in 2005. Saravanan takes you through the 7 Tamil movies of Raveendran Master, amongst which are surprisingly, the Tamil versions of "Ezhu Swarangalum" and "Thenum Vayambum" !  ]

Ganga Creations’ Hemavin Kaadhalargal must have been years in the making, for while it was released in 1985, the EP sleeve of the movie mentions its year of manufacture as 1982. The film was produced by Ganga and was the second film of the acclaimed Malayalam director T.V.Chandran. Though Chandran had commenced his career as an actor in P. A. Backer’s Kabani Nadi Chuvannappol, he realized his true calling when he directed his first film Krishnankutty in 1981. Hemavin Kaadhalargal was his second film, and also his only outing in Tamil. In later years he crafted some of Malayalam cinema’s finest films like Alicinte Anveshanam, Ponthan Mada, Ormakalundayirikkanam, Mangamma, Susannah, Danny, Padam Onnu: Oru Vilapam and the recent Kathavasheshan.

About Hemavin Kaadhalargal (1985)

I gleaned the story outline of Hemavin Kaadhalargal from a staid and taciturn colleague who suddenly opened up when we were talking about the life and times of Raveendran. The mention of Hemavin Kaadhalargalmust have touched a long forgotten chord in him, for he leaned forward and asked us shyly if any of us had seen the film, and as we listened in pleasant surprise, he went on to pay a glowing panegyric to the bold theme and the genius of its brilliant director. As the title indicates, the film revolved around Hema (played by Anuradha ) and her elusive search for a perfect spouse. She finds herself drawn to one of the two young men who come her way, and marries him. But she is soon disenchanted by his narrow, male chauvinistic attitude, and walks out of what had become a stifling wedlock. She then finds the man of her dreams, an idealistic, fiery labour leader. But she realizes that she is unlucky the second time too, and his untimely demise leaves her shattered. Nevertheless life must go on for the living, and Hema continues her quest, undeterred.

Besides Anuradha, the film had in its cast Delhi Ganesh, Vijayamohan, Sabita Anand and others. The dialogues were written by writer Ramanichandran.

Raveendran’s debut in Tamil – Hemavin Kaadhalargal (1985)

It was Hemavin Kaadhalargal then, which marked the debut of the gifted Raveendran (1943-2005) in the Tamil film industry. Raveendran’s Tamil film albums amount to a paltry 7, but his genius glitters in each one of them, and the songs live on to tell the tale of the man behind the music.

Paarvai Theril from Hemavin Kaadhalargal (1985)

As you listen to “Paarvai Theril“, you realise  Raveendran’s imagination is in full play here, and right from the unconventionally structured pallavi, the song traverses along some unexplored, exciting paths. SPB seems to have given Raveendran a joyous welcome to Tamil film music, for he simply captivates with his magic. Hark at his stifled chuckle just before ‘punnagai allum..’, and how he smiles, sulks, cajoles, teases, woos and exults…what a singer !

Besides this, the movie had one other song - the spellbinding ‘Kaalai poove nee vaa’, where S Janaki summons to kaleidoscopic life the magical vistas envisaged by Raveendran. Raveendran was next heard in 1986, when as a sudden delightful deluge, 4 movies carrying his music were released, filling discerning fans with joy.

Kanmaniye  Pesu ( 1986 )

Kanmaniye Pesu  ( Aieres Cine Arts ), released in January 1986, was Rajasekar’s adaptation of Ramesh Talwar’s Hindi film Baseraa (1981). The film starred Sivakumar, Lakshmi, Ambika, Ganga & Ashwini. A lesser MD might have baulked at the thought of working on a film in whose original RD Burman had given some unforgettable songs. But the unassuming Raveendran vindicated the confidence that Rajasekar placed in him, and came out with some stunners. SJ’s ‘nalam paaduven nee vaazhathaan’, for me, ranks notches above Lata’s Baseraa equivalent ‘jahaan pe sawera ho, basera wohi hai’. Raveendran’s intricate piano and violin filigrees, and SJ’s remarkable rendition of the convoluted charanam lines makes the song very, very special.

Jahan  pe sawera ho from Baseraa (1981)

KJY’s ruminative ‘maname mayangaadhe vidiyum kalangaadhe’, Chitra’ spirited ‘vilakku vechcha’, MV & Chitra’a joyous ‘vaanam engaL ellai’ are all noteworthy compositions.

Rasigan oru Rasigai (1986)

Rasigan oru Rasigai ( Vasan Brothers ) followed in February. Directed by Balu Anand, the film starred Satyaraj, Ambika, Ramesh, Janani and others. This album remains Raveendran’s best effort in Tamil. With an ensemble of singers like Yesudas, Jayachandran, Malaysia Vasudevan, S.Janaki and Vani Jairam, and a team of lyricists like Vaali, Pulamaipithan, M.G.Vallaban and Gangaiamaran,

Paadi azhaithen from Rasigan oru Rasigai (1986)

Raveendran came out with some timeless treasures. KJY’s ‘yezhisai geethame’ and ‘paadi azhaithen’, though re-purposed from Raveendran’s creations in Chiriyo chiri and Thenum Vayambum, made Tamil film music  connoisseurs sit up and take notice of the composer.

Yezhisai Geethame from Rasigan oru Rasigai (1986)

VJ’s ‘Kaatrinile varum geetham’ is a fine racy number soaked in pristine classical notes. SJ’ s ‘unakkaagave naan uyir vaazhgiren’ fills the listener’s heart with a quiet rapture. And right from the opening humming, JC & SJ’s ‘amma adi amma sugam summa varuma’ thrills in the startling unpredictability of Raveendran’s arrangements.

Kaatrinile varum geetham from Rasigan oru Rasigai (1986)

‘Velli mookku minna minna’ has KJY enjoying a rare rustic outing, with his drawl on ‘kazhuthai saththam nalla sagunam’ adding to the appeal. MV’s ‘naadu nalla naadu’ catches your fancy even as the song unfolds with an unorthodox choral humming.

Velli mookku from Rasigan oru Rasigai (1986)

Deepavali fell on 1st November that year, and with it came two of Raveendran’s films, among a host of many high profile releases. Remember, Ilaiayraja’s landmark Punnagai Mannan, along with a formidable array like Aruvadai Naal, Kannukku mai ezhuthu, Thazhuvaatha KaigaL, Vidinja Kalyaanam and Maaveeran were all released on that day. In the midst of this enchantment, it is a wonder that Raveendran’s two albums too elicited notice.

Lakshmi Vandhaachu (1986)

Lakshmi vandhaachu ( Aieres Cine Arts ) was one of the two Deepavali releases of M Raveendran. “The Hindu” Rangarajan (who had produced Kanmaniye Pesu too) was the producer, and Rajasekar was the director again. The film was an adaptation of Hrishikesh Mukherjee’s Khubsurat. Sivaji Ganesan, Padmini, Revathi, Nizhalgal Ravi and Jayachitra were in the cast. SJ’s ‘Kaadhal vennila kannil vandhadhu’ showcases Raveendran in his scintillating elements, and not surprisingly the song could effortlessly claim a rightful share of airtime.

Kaadhal vennila kannil vandhadhu from Lakshmi Vandhachu (1986)

‘Kaalam kanindhadhu’ (KS Chitra) and ‘Sandhana nilavoli’ (MV coming out unscathed in this complex classical number!) are other enticing contents of the album.

Dharma Devathai (1986)

The other Deepavali’ 86 release of Raveendran was AVM’s Dharma Devathai . The film starred Vijayakanth, Radhika, Pallavi and Saratbabu. ‘Thodu thodu vaa mella’ (KJY/SJ) was the pick of the album. The sudden ‘Entharo mahanubhavulu’-ish Veenai flourish in the second interlude is such an imaginative touch! ‘Idhu natta nadu raathiri (SJ) and ‘Oorukku uzhaithaal’ (SPB) are other songs that I recall from the film.

Thodu thodu vaa from Dharma Devathai (1986)

Thaaye Neeye Thunai (1987)

1987 followed with Thaaye neeye thunai (Bhuvaneswari Kalamandir) releasing for Pongal. The film was directed by P.R.Somasundar, and like devotional films of yore, had a crowded cast – Karthik, Pandiyan, KR Vijaya, Nalini, Pallavi, Sudha Chandran, Srividya and many others. Raveendran worked with a bevy of lyricists like Vaali, Muthulingam, Ponnaruvi, Chidambaranathan and Thirupathooran, to come with a good album. ‘Koo kuyile kaadhal kavikkuyile’ is dainty duet by SPB & VJ. ‘Bhuvaneswari arul puri aadhari’ (KJY/Chitra) is a fervent, emotional appeal to the Almighty. Chitra’s ‘chellakkiliye’ is a caressing lullaby.

Bhuvaneswari from Thaaye Neeye Thunai (1987)

Malare Kurinji Malare (1993)

The last Tamil movie that came out with Raveendran’s music was produced by  Raja Movie Productions. This film too was some years in the making. It was directed by A. Parthiban. An obscure Raja Venkatesh was the hero, while Seetha played his pair. Raveendran had sung in this album- the song ‘deepangale neengaL vizhi moodinaal’ is a veritable aural treat. ‘Kaadhal paingiliye’ (KS Chitra), ‘Vaa ilayavane’ (KJY/ Chitra), ‘Aathoram’ ( Mano/Chitra) are other memorable songs in the album.

Vaa ilayavane from Malare Kurinji  Malare (1993)

With Malare Kurinji Malare (1993), Raveendran bid adieu to Tamil film music. His stay here was woefully brief, yet he has left behind some fleeting glimpses of his infinite capabilities. He will live on in our hearts, and his songs would continue to fascinate generations of fans.

Suraj Venjarummodu in Kerala Cafe (2009)

Apparently, there is more to Suraj Venjarammoodu than the done-to-death dialect, tasteless mimicry and cringe-worthy comedy.  Like Salim Kumar did a few years back in Adaminte Makan Abu, Suraj Venjaramoodu has turned in a fine performance in Perariyathavar which has won him the coveted Award, that he shares with Rajkummar Rao (Shahid – Hindi).

According to the jury, he was chosen for the award,

“for the dignified and quiet portrayal of a man on the lower margins of the society. His turmoil struggles and sufferings are soulfully brought out with subtle body language and eyes which transcend words.”

Credit goes to Director Dr.Biju for bringing out this face of Suraj Venjaramoodu. Dr.Biju also takes home the Award for Best Film on Environment Conservation/Preservation for the same film.

Other Winners in Malayalam Cinema include D Yuvaraj for Best Audiography  (Re-recordist of the final Mixed Track) for Swapaanam and Cristo Tomy for Best Debut Film of a Director for Kanyaka.

North 24 Katham directed by Anil Radhakrishnan Menon and produced by Surya Cine Arts was chosen as the best Malayalam Feature Film in the Regional Films Category.

Suraj Venjaramoodu on the origins of his “trademark dialect” that pigeon-holed him.

 [ SPOILERS AHEAD ! ]

വിശ്വനാഥൻ ആ നാട്ടിൽ വന്നത് പടം വരച്ചു കളിയ്ക്കാൻ ആയിരുന്നില്ല . അലസമായ നടത്തയും തീഷ്ണമായ കണ്ണുകളും ഉള്ള വിശ്വനാഥന്റെ ഉള്ളിൽ പക്ഷെ ഒരു അഗ്നിപർവതം  ഉണ്ടായിരുന്നു . ആ നാട്ടിലെ താറാവ് കച്ചവടക്കാരൻ പൈലിയും ആയി ചങ്ങാത്തം കൂടിയതും അതിനു തന്നെ . വർഷങ്ങൾക്കു മുൻപ് തന്റെ ഇളയമ്മയും പൈലിയും തമ്മിലുള്ള അവിഹിതത്തിന്റെ ഓര്മകളും അതിന്റെ അനന്തര ഫലങ്ങളും വിശ്വനാഥനെ വേട്ടയാടുന്നു . അതിൽ പൊലിഞ്ഞത് വിശ്വനാഥന്റെ സ്വപ്‌നങ്ങൾ ആയിരുന്നു ജീവിതം ആയിരുന്നു. നേരിട്ടുള്ള പ്രതികാരത്തിനെ കാൾ  വിശ്വൻ തിരഞ്ഞെടുത്തത് വേറൊരു വഴി ആയിരുന്നു. പൈലിയുടെ മകൾ അമ്മിണിയെ പ്രേമിക്കുക, അല്ല പ്രേമിക്കുന്നതായി നടിക്കുക .എന്നാൽ യഥാർത്ഥത്തിൽ വിശ്വന് സ്നേഹം സുശീലയോട് ആയിരുന്നു. വിശ്വനാഥൻ പൈലിയുടെ ഉറ്റ സുഹൃത്തായി . ഒടുവിൽ വിശ്വൻ അമ്മിണിയെ അറിയുന്നു …മധുരമായ പ്രതികാരം അവിടേം നിന്നില്ല അമ്മിണിയുടെ ശരീരത്തിന്റെ മധുരം നുകർന്ന് പിരിയുന്ന നേരം ആരും അറിയാതെ താറാവ് തീറ്റയിൽ വിഷം കലർത്തുന്നു.

ഇതാ ഇവിടെ വരെ – യിൽ നിന്നും ഒരു രംഗം.

പിറ്റേന്ന് കായലിൽ ചത്തൊടുങ്ങിയ താറാവുകളെ കണ്ടു ഞെട്ടിയ പൈലി സത്യം അറിയുന്നു. പിന്നെ പതിവ് പോലെ സംഘട്ടനം . എന്നാൽ വിധി ആണ് പൈലിയുടെ ജീവൻ എടുക്കുന്നത് . ഇതിനിടെ സുശീല വേറെ വിവാഹം കഴിച്ചു പോയിരുന്നു. വിശ്വൻ തിരിച്ചു അമ്മിണിയുടെ അടുത്ത് വരുമ്പോൾ അമ്മിണി അയാളെ നിഷ്കരുണം തള്ളി വള്ളം തുഴഞ്ഞു മറ്റേതോ കരയിലേക്ക് പോകുന്നു. സ്വാഭാവികമായ ഒരു ക്ലൈമാക്സ്‌ ആയിരുന്നില്ല അത്. എല്ലാം നേടി എന്ന് അഹങ്കരിച്ചിരുന്ന വിശ്വൻ എല്ലാം നഷ്ടപെട്ടവൻ ആയ നിമിഷം.  വിശ്വനാഥൻ ആയി  സോമനും, പൈലി ആയി മധുവും, അമ്മിണി, സുശീല ഇവരെ ജയഭാരതി, വിധു ബാല എന്നിവരും അവതരിപ്പിച്ചു . ബഹദൂർ, അടൂർ ഭാസി, ഉമ്മർ, കവിയൂര് പൊന്നമ്മ, ബഹദൂർ,ശ്രീലത  തുടങ്ങി ഒരു നീണ്ട താര നിര  ഉണ്ടു ഈ ചിത്രത്തിൽ.

1977 - ഇൽ ആദ്യമായി പദ്മരാജനും ഐ വി ശശിയും കൈ കോർത്തപ്പോൾ മലയാള സിനിമക്ക് ലഭിച്ചത് എം ജി സോമൻ എന്ന ഒരു സൂപ്പർ താരത്തെ മാത്രമല്ല , ചെറിയ ഒരു വേഷത്തിൽ വന്നു പിന്നീട് മലയാള സിനിമയുടെ നാഡിമിടിപ്പ്  ആയി മാറിയ ജയൻ എന്ന നടൻ കൂടിയാണ് . മധുവും സോമനും മത്സരിച്ചു അഭിനയിച്ച ഈ ചിത്രം യൂസഫലി കേച്ചേരി എഴുതി ദേവരാജൻ മാസ്റ്റർ സംഗീതം നൽകിയ ശ്രവണ സുന്ദരമായ ഗാനങ്ങൾ കൊണ്ട് സമ്പന്നമായിരുന്നു. പ്രണയ രംഗങ്ങളിൽ അത്ര ശോഭിക്കാത്ത സോമൻ അഭിനയിച്ച “വെണ്ണയോ വെണ്ണിലാവു ഉറഞ്ഞതോ” എന്ന ഗാനം ഉൾപെടെ അഞ്ചു ഗാനങ്ങൾ ആണ് പഞ്ചപായസം പോലെ ഇവർ വിളമ്പിയത്.

വെണ്ണയോ വെണ്ണിലാവു – ഇതാ ഇവിടെ വരെ

പടത്തിൽ ഉടനീളം വിശ്വനാഥൻ പറയുന്ന “ഇതാ ഇവിടെ വരെ” എന്നാ പേരിലും ഒരു ഗാനം ഉണ്ടായിരുന്നു. തുടർന്ന് സോമൻ മലയാളത്തിന്റെ ക്ഷുഭിത യൗവ്വനം ആയി മാറി . പിന്നീട് ശശി ചിത്രങ്ങളിലെ സജീവസാന്നിധ്യം ആയിരുന്ന സോമൻ ശശിയും ആയി പിണങ്ങി . വർഷങ്ങൾക്കു ശേഷം  കമലഹാസൻ ഇടപെട്ടു അവരുടെ പിണക്കം മാറ്റി. തുടർന്ന് ഐ വി ശശിയും കമലഹാസനും ഒന്നിച്ച അവസാന ചിത്രമായ വൃതം (1987) എന്ന ചിത്രത്തിലൂടെ സോമൻ വീണ്ടും ശശി പാളയത്തിൽ എത്തി . പുതിയ തലമുറയിലെ എന്റെ കുഞ്ഞുങ്ങളെ “നേരാ തിരുമേനി ഈപ്പച്ചൻ പള്ളികൂടത്തിൽ പോയിട്ടില്ല ” എന്ന  സോമനെ മാത്രമേ നിങ്ങള്ക്ക് അറിയൂ . പ്രണയ രംഗങ്ങൾ ഒഴിച്ചാൽ മനോഹരമായ ഒരു നിഷേധി ആയിരുന്നു മലയാള സിനിമയിൽ സോമൻ. ഐ വി ശശി ആകട്ടെ ഏതു പാത്രത്തിലും നിറയുന്ന വെള്ളവും . ടി ദാമോദരൻ , ഷെരീഫ്, എം ടി വാസുദേവൻ‌ നായർ, പദ്മരാജൻ തുടങ്ങി രഞ്ജിത്ത് വരെ ഉള്ള എഴുത്തുകാരെ അവർ അര്ഹിക്കുന്ന രീതിയിൽ ബഹുമാനിച്ചു ചിത്രങ്ങൾ എടുക്കാൻ ശശിക്ക് ഒരു പ്രത്യേക കഴിവുണ്ടായിരുന്നു

ഒരിക്കൽ നിറഞ്ഞും ഒരിക്കൽ മെലിഞ്ഞും ഒഴുകുന്ന പുഴയിൽ കാൽ നനച്ചു കാലം മുന്നോട്ടു പോയി. ഇരുപതു വര്ഷത്തിനു ശേഷം 1997 - ഇൽ ജോസ് തോമസ്‌ ഒരു ചിത്രവും ആയി വന്നു. ചിത്രത്തിന്റെ പേര് അടിവാരം. വിജയരാഘവൻ, മുരളി, ചാർമിള –  ഇവർ സ്ക്രീനിൽ. ഫേസ് ബുക്കും വിപുലമായ നെറ്റും ഇല്ലാത്ത ആ കാലത്ത് ആ ചിത്രം കണ്ടവര്ക്ക് പെട്ടെന്ന് മനസ്സിലായില്ല എങ്കിലും, പഴയ തലമുറ തിരിച്ചറിഞ്ഞു –  അത് “ഇതാ ഇവിടെ വരെ ” തന്നെ ആണെന്ന്. സന്ദർഭങ്ങൾ മാറി, ആളുകൾ മാറി, പക്ഷെ കഥ മാറിയില്ല ! വലിയ വിജയം ഒന്നും നേടിയില്ല ഈ ചിത്രം.കുളിർ  പെയ്ത മാമഴയിൽ നനഞ്ഞ പടക്കമായി ആ ചിത്രം.

വീണ്ടും  13 വർഷങ്ങൾ. ഇത്തവണ വന്ന വിശ്വനാഥന് നിഷേധിയുടെ മുഖം മൂടി ഇല്ല. ശാന്തൻ ! കമൽ സംവിധാനം ചെയ്ത ആഗതൻ (2010) ആയിരുന്നു ആ ചിത്രം  ഇതാ ഇവിടെ വരെ പോലെ വില്ലനും നായകനും തമ്മിൽ അടിച്ചില്ല . താറാവ് പൈലി ഇത്തവണ പട്ടാളക്കാരൻ ആയി. സത്യരാജ് ജീവൻ നൽകിയ ആ കഥ പാത്രത്തിനു ശബ്ദ സാന്നിധ്യം ആയി സായികുമാറും ഉണ്ടായിരുന്നു.മകളുടെ വേഷം ചാര്മിയും. ശരാശരി ചിത്രത്തിൽ ഒതുങ്ങി അത് .

മൂന്നു വർഷങ്ങൾ ഇതാ ഇവിടെ വരെ നിശബ്ദമായിരുന്നു . വരാനിരിക്കുന്ന കൊടുങ്കാറ്റിന്റെ നിശബ്ദത .. ഈ കഥയുടെ നാലാം ചിത്രം ഈ കഥയുടെ ഏറ്റവും വലിയ അപമാനം ആയി എന്ന് പറയാം . പദ്മകുമാർ സംവിധാനം ചെയ്ത ഇത് പാതിരാ മണൽ.

എല്ലായിടവും പിഴച്ചു പോയ ചിത്രം. നിഷേധിയായ സോമന്റെ വിശ്വനാഥന് പകരക്കാരൻ ആയതു ആ അഭിനയത്തിന്റെ ഒരു ശതമാനം പോലും മുഖത്ത് വരാത്ത ഉണ്ണി മുകുന്ദൻ, (ക്ഷമിക്കുക , ആ ചിത്രം കണ്ടവർ എന്നോട് ചേർന്ന് നില്കും എന്ന് ഉറപ്പാണ്‌ ) നായിക, അതായതു വില്ലന്റെ മകൾ ആയി രമ്യ നമ്പീശൻ . ഇനി വില്ലനോ ? പ്രദീപ്‌ റാവത്ത് . ഓർമ വരുന്നില്ലേ ? നമ്മുടെ ഗജിനി . മോശം പറഞ്ഞൂടാ, അഭിനയം നന്നായി അറിയാം ആ നടന്, പക്ഷെ അറിയാത്ത ഭാഷയിൽ ഇത്രയും വലിയ കഥ പാത്രം എടുത്തു തലയിൽ വച്ച് കൊടുത്താലോ . ജയസൂര്യ അഭിനയിക്കേണ്ടിയിരുന്ന വേഷം ആയിരുന്നു. ഒരു അപകടത്തിൽ പെട്ട് ജയസൂര്യ കിടപ്പിൽ ആയപ്പോൾ പകരക്കാരൻ ആയി വന്ന ഉണ്ണി മുകുന്ദന് പക്ഷെ മുഖത്ത് പ്രത്യേകിച്ച് ഒരു ഭാവവും ഇല്ലായിരുന്നു ( ആ കിടപ്പിൽ ജയസൂര്യ ബ്യൂട്ടിഫുൾ ചെയ്തു . ഉർവശി ശാപം ഉപകാരം )

ദോഷം പറയരുതല്ലൊ, ഇതിനിടെ ഏകദേശം സമാന കഥയും ആയി പ്രിയനും ചെയ്തു ഒരെണ്ണം - ഒരു മുത്തശ്ശി കഥ (1988) . പക്ഷെ അതിൽ വില്ലന്റെ മകളെ പ്രണയിച്ചു വഞ്ചികുന്നില്ല, പകരം കല്യാണം കഴിഞ്ഞു വഞ്ചിക്കുന്നു എന്നെ ഉള്ളു !

ഇനിയും ക്ളോണ്‍ ചെയ്ത താറാവു കൂട്ടങ്ങളും ആയി  പൈലിമാർ ഈ വഴിയെ വന്നു കൂടെന്നില്ല.

Courtesy : KK Vin

Do you remember watching the Shankar-Gowri love story-based on a screenplay by MT Vasudevan Nair unfolding on the big screen?

A poignant tale of two lovers kept in captivity, who were made to dance to the cruel tunes of their masters ? Two lovers who decided to escape from the chains and clutches of the evil villians, to everlasting freedom. Produced by Gandhimathi Balan, the movie was a runaway hit when released in 1985 and most probably every 33+ kid out here might have watched this movie. Shankar and Gowri- the hit pair, were newcomers and to the best of my knowledge, their only screen outing ever. Here is a clue if its still hazy – Shankar and Gowri were monkeys, and the movie was Kaadinte Makkal, released in 1985.

As a kid living in Thiruvananthapuram during the 80′s, the highlight was going to Sreekumar theatre to see live action movies in which animals were the stars. I remember seeing some of the Lassie movies, a few in the Benji series, The Ugly Dachshund, The Cat From Outer Space, Monkeys Go Home, The Horse in the Grey Flannel Suit, That Darn Cat, Zebra in the Kitchen, Clarence the Cross-eyed Lion, The Last Giraffe, Bedtime for Bonzo and its sequel Bonzo Goes to College, Digby: The Biggest Dog in the World, Born Free, Living Free, The Shaggy Dog and its sequel The Shaggy DA, The Million Dollar Duck, The Black Stallion Part I and II, The Golden Seal etc. Dean Jones (not the cricketer) was my Hollywood hero.

Dean Jones – Hollywood Actor

I also was a serious reader cum collector of the Enid Blyton animal books like Shadow the Sheepdog, Bimbo and Topsy, and of course of our Aithihyamala and Panchathantra stories. However, as I entered my teens, I deemed these things “kids stuff” and went into more serious movies! These days, I am a closet connoisseur of these types of movies- I buy them ‘for my kids’ and the movies that I ‘casually happened to buy’ include DVD’s of Black Beauty, Babe I & II, Racing Stripes, Bringing Up Baby, National Velvet, Beethoven Pentalogy, K-9 Trilogy, Dr. Dolittle series, Flipper, Horse Whisperer, Free Willy series, 101 Dalmatians, 102 Dalmatians, Dunston Checks In, Turner & Hooch, See Spot Run and more recently Furry Vengeance and Mr. Popper’s Penguins.

Dunston Checks In Movie Trailer (1996)

But animal movies, it seems, have been given a clean go by as far as the Malayalam film industry is concerned, and for that matter Indian film industry as a whole. This is most surprising because the most popular of the international animal movies – the classic Jungle Book (and a sequel Jungle Book II released almost 35 years after the original) is set in India. I still believe we haven’t yet exploited this genre to its fullest. Most often, animals were shown in the background of circus movies like Nayaru Pidicha Pulival (1958), Valarthu Mrugangal (1981)and Joker or in movies like My Dear Karadi, The Guard, Bhoomiyude Avakashikal, Ezhamathe Varavu etc. Actually, ‘background’ might be a phrase too mild to express their presence.

Who can imagine a movie like Itha Ivide Vare without the താറാവുകൾ; or Vijayanum Veeranum without Jose Prakash and his മുതല കുഞ്ഞുങ്ങൾ; My Dear Karadi without the കരടി and the recent movie Pigman without Suraj Venjaramoodu and the പന്നികൾ. How can one explain the psyche of one of the protagonists without the presence of the tiger in Ezhamathe Varavu? And who was the real anti-hero in Mrigaya- the leopard of course. And what made Ividam Swargamanu truly divine? It was Mathews (Mohanlal) and his farm with all types of cattle. Still remember Mohanlal’s dialogue “അവള്ക്കെ..ഒരു പശുവിൻറെ മുഖമോണ്ട്…അതാ എനിക്കവളെ ഇഷ്ടമായത്…” But in all these movies the animals themselves were never the stars- and sometimes (e.g.:- Nayaru Pidicha Pulival) they became a tool just to show the brawn and bravery of the hero. They were just there –  that’s it. That said; there have been sporadic instances in which animals became the real stars on screen.

Jose Praksh’s Epic Muthalakunju Scene

Which was our first “Beautiful People” starrer ? Subject to correction I believe that Aana Valarthiya Vanambadi (1959) was our first animal- jungle movie. Though Miss Kumari played the titular role- the honours went to Bheeman (elephant) and Pedro aka Aadiyappan the monkey. The movie was followed 12 years later with the sequel Aana Valarthiya Vanambadiyude Makan.

The ‘Elephant’ Decade in Malayalam cinema

The 70′s had some interesting ‘Elephant movies’ hitting the screen. Sindhooracheppu (1971) with Madhu in the lead; Aanappachan (1978) with Prem Nazir and the classic Guruvayur Keshavan (1977) won accolades and were super hits. And Malayalees have always had a special liking for elephants and every two or three years an elephant movie used to hit the screens. Later years had movies like Kolakkomban, Aanakkorumma, Adiverukal, Aanchantham, the classic Gajakesariyogam, Prayikkara Pappan, Gajarajamanthram, Pattabhishekam – all had elephants playing a very important role. The love that exists between the protagonist and the elephant; or the concept of “an elephant never forgets” (!) had been convincingly exploited by the makers of these movies. I must also mention that elephant movies have also been popular in other parts of India. Who can forget the classic Haathi Mera Sathi starring Rajesh Khanna and the 1990 Tamil movie Durga (starring Baby Shyamili); or the popular television serial Appu aur Pappu – but by and large it has been the Malayalam film industry which has exploited the psyche of elephant love.

Guruvayur Keshavan (1977)

Ramu Kariyattu experimented with Ammuvinte Aattinkutyy – released in 1978. As the title suggests- the love and affection between a young girl and her goat is the crux of the plot. Based on a poem by KSK Thalikkulam, the movie moved on sentimental lines – with the buyer of the goat who had intended to have it for supper returning it to Ammu seeing her love and affection for it. The upcoming movie Aadu Oru Bheekara Jeevi Alla  - it seems will also have a goat in the leading role. Let’s wait and see how the movie fares.

At this juncture, I must also mention a beautiful people movie that still languishing in the cans. ‘Snehapakshikal’ – a movie for kids, by the late Beypore Mani (2004 – his last movie) that couldn’t see the light of day because it was mired in Censor controversy was the tale of a warm, loving family and the three main protagonists – Chikku the rooster, Chinnu the hen, and Manikutty the calf. Problems over its release arose from the moment the film was submitted to the Censors – particularly over a scene where the character says that the hen has been killed and eaten. The Censor Board was insistent that the producer ‘produce’ the hen before them to show that no animals were harmed or killed during the shooting of the movie ! By that time the owner of the hen had sold the same, and nobody had any idea what happened to it - and to this day Snehapakshikal languishes in the can.

However, “Man’s best friend” –  the dog, has not been shown as heroes on screen. Save for Jimmy (1978) a horror-cum- investigative thriller in which the title role was portrayed by a dog; Mudramothiram ( 1978 ) with Julie the dog  who was the only friend of the orphaned child protagonist; and years later with CID Mososa- with the German Shepherd Arjun helping Moosa in his investigations – dogs seldom have taken centre space in Malayalam movies. Kummatti (1979) is another movie which deserves mention. A Kummatti, as part of his shape shifting magic changes children of a village into animals for a brief time. Within minutes he reverts them to their original- save for a young boy whom he misses out. How the boy/ dog – goes after the Kummatti to get back his original figure is the story of this Aravindan movie.

Daivathin Veedevide from Mudramothiram ( 1978 )

Kummatti and the aforementioned Ammuvinte Aattinkutty were a part of the double feature of Doordarshan way back in the Eighties on Children’s day – but am not sure that a Vcd/Dvd of the same is available. And as I write this, the Dileep movie Ringmaster is creating a box-office ruckus - with  Toby (a St. Bernard) and Diana (a German Shepherd) playing  a pivotal role in the success of this movie. Being a dog lover myself – I for one would sure like more canines onscreen in leading roles,  and frankly would welcome a movie franchise like that of Benji or Lassie in Malayalam.

But  the best ’Beautiful People’ movie in Malayalam, still happens to be  Kaadinte Makkal and will remain so. This is the best animal movie I saw – way back in the mid – 80′s as a 8 or 9 year old kid with my parents. And I hope one day I would be able to enjoy this movie with my kids - sooner than later.

Whom do I credit this masterpiece with? Should I thank Madhavi Kutty for her book ‘Nashtapetta Neelambari‘, on which this movie is based? For who else could have traced the internal journey of a woman’s life within the rigid framework of a society bound by convention, and brought it into narrative with this degree of perfection? Or should I thank Lenin Rajendran who gave a visual dimension to this narrative, unfolding for us on screen a character that every Indian woman with a free spirit would relate to? Bhadra, as a character, had a magical appeal to the woman in me.

The movie commences on the mesmerising notes of the Neelambari. To me, Neelambari was the soul of this movie. A symphony that reverberated with bitter-sweet nostalgia. A symphony that reverberated with the sanctity of a woman’s first love. Love that so often culminates in pain, only to be tucked away into some deep recess of her mind.

Bhadra, the female protagonist of the movie, is the only child of her parents. Her parents are affluent and she is raised liberally. The movie begins with the family moving from the city to Shivapuram – a beautiful village, where Bhadra’s father hails from. Although hesitant at the outset, Bhadra adapts with ease to her new environment. Her love for nature and music help Bhadra discover a new significance at this new place.

Love makes its entry into Bhadra’s life the way it often does – unannounced and phenomenal, planting the most beautiful dreams in the courtyard of her mind. In the dim – lit passage of a beautiful temple, Bhadra finds herself mesmerised by the Neelambari that seems to rise out of nowhere, making her pause in her steps, entranced and enthralled. She seeks the owner of the voice that seems to have awakened her very soul. Thus begins the romantic interlude between Ramanujam Shastri and Bhadra, a love story that seems to have captured the most poetic imagination.

Biju Menon as Ramanujam Shastri

The relationship between Bhadra and Ramanujam Shastri is evocative at multiple levels. It marks for Bhadra her first bout of self-revelation. As she herself describes in the movie, the first verses of a woman’s autobiography. The movie powerfully portrays Bhadra’s transition from childish oblivion to the passionately throbbing womanhood that thrives within her, rich with dreams and desire. Love colors Bhadra’s world in ways she could never have imagined. She finds immense beauty in the sights and sounds of that little village, for they seem to mirror her own state of mind. Bhadra discovers poetry as her emotions brew into a frenzy, seeking an outlet. And thus, the movie treats us to some beautiful lyrics and songs that weave themselves indiscernibly into this brief episode of the most beautiful love story one can conjure. I was floored by the ingenuity with which love was portrayed in this movie, for it was at a purely artistic and aesthetic plane, the way first love so often is – right out of one’s dreams. Love that is tender and passionate, so full with desire, and yet so devoid of lust. Love that resides in all the silences and unspoken words. Love that is soul to soul, oblivious to all the existing differences, barriers and constraints.

Ithramel from Mazha (2000)

As is the case with life, reality puts a harsh brake on one’s dreams. So it is in this movie, where Bhadra’s parents terminate the affair by arranging for the marriage between Ramanujam Shastri and his cousin, Jnanam- an obligation that finally claims itself. A heartbroken Bhadra watches on as Ramanujam Shastri ties the knot, while he subjects himself to the proceedings, helpless and mute. Bhadra returns home and moves out of Shivapuram with her parents. With the tragic end of her first love, Bhadra also bids goodbye to a part of herself- the part that she associates with her love. She gives up her poetry and the passionate being that she had discovered in Shivapuram.

Aaradyam Parayum from Mazha (2000)

Bhadra lives a conventional life, in touch with the harshness of reality. She studies medicine and becomes a sensitive, empathetic doctor, liberating her pain in alleviating the suffering of her patients. The second part of the movie introduces us to a Bhadra who seems to have come to terms with the bitter truths of life. She is now married to a rich and successful software engineer, Chandrashekhara Menon. Chandran is not perhaps a bad human being, but he represents the prototype of the Indian male, with an ego, groomed and conditioned by the male supremacy outlook of a conventional Indian society. His perspectives on the roles of a man and woman and their mutual expectations from marriage are very stereotyped and so, he fails to understand Bhadra’s emotional needs. This leads to frequent clashes between the two, and their marriage is an ocean that raves and rages, and then stills as they both attempt to prevent it from fragmenting, only to lash out again.

The specialty of this movie is that the storyline and the ending are of only secondary importance. The essence of the movie is Bhadra’s personality – a woman who awakens us to the fact that as women living in contemporary Indian society, we are vulnerable to the currents of life – far more than men in this society.Our lives might lie at the mercy of our primary caretakers and the men we marry, but our minds- we alone own possession of that mind. The movie highlights the fact that even within the rigid framework of this orthodox society, the mind is a free bird.

Varmukile from Mazha (2000)

In the movie, Bhadra is the ultimate survivor. Her reactions to tragedy are contrary to expectations. Upon the loss of her first love, Bhadra does not crumble, nor does she despise Ramanujam Shastri. She preserves him as an idol of worship in the temple of her mind, for it was he who gave form to her most precious dreams. She also does not ‘hate’ her husband, Chandrashekhara Menon. She is in acceptance of his personality and her fate, and maintains that emotional distance in her marriage that would stop her from expecting the intellectual and sensual chemistry that was integral to her concept of love. She preserves an independent identity all along, never attempting to own anything or anybody. For she is aware that she owns her perceptions and memories and her only commitment is to these perceptions that define love for her.

The message of the movie is clear. A woman’s mind is a sanctum sanctorum, within which she guards the most sacred of her emotions, the most beautiful of her perceptions. It is in this temple of her mind that she liberates herself, unrestricted. She, and only she, has access to this most beautiful of temples.

Samyukta was the perfect choice for Bhadra. Biju Menon and Lal played their roles to perfection. The movie was all in all, an aesthetic treat for the visuals were striking and the music was powerfully evocative. The dialogue delivery and the intended accent falter at places, but the overall impact of the movie made these insignificant.

Aashadam Paadumbol from Mazha (2000)

The 8th edition of SiGNS , the the pioneering festival in India for digital videos featuring national level competition for documentaries and short fiction, competing for the prestigious John Abraham National Awards, is on from May 28 – June 1, 2014 at Kochi, organised by the Federation of Film Societies of India - Keralam. The John Abraham Awards was instituted in 1999 by the Kerala Region of Federation of Film Societies of India in memory of JOHN ABRAHAM, the filmmaker who was the guiding spirit behind radical initiatives for people’s cinema.

From 2005, the competition was extended to the national level, and the festival was renamed as SiGNS, with a focus on documentary and short films in video format. In to its 8th edition this year, SiGNS has carved a niche for itself in the festival map in India.

The Award categories this year include Short Features, Documentaries,Cinema of Resistance and Cinema Experimenta.

The jury for the 2014 edition includes film maker Madhushree Dutta as the Chairperson with
Riyas Komu and K B Venu completing the team.

This edition also includes homages to Alain Resnais (1922-2014), C N Karunakaran (1940-2013), K K Chandran and Razak Kottakkal.

Dr C. S. Venkiteswaran, the Artistic Director of SiGNS 2014 has extended a warm welcome to all those who love the art of cinema, through this blog, to be a part of this enriching movie experience.

For more details, checkout the official website of the Festival here.

The 8th edition of Reverberates is here, which means the hugely popular, or at the risk of saying, the most popular Film Quiz on Malayalam cinema is back. Chitramela 2014, will be hosted by Prasanth Vijay and Dr Nirmal Joy, at the GV HSS Nadakkavu, Kozhikode on Sunday, 8th June, 2014 at 4 pm – with www.m3db.com as their official database and knowledge partner for the event.

Chitramela 2.0 is being hosted in association with the Quiz Society of India, and promises to bring more excitement with the biggest quiz show based on Malayalam cinema history at the school premises.

When : Sunday, 8th June 2014. 4 Pm onwards.

Where : GV HSS Girls, Nadakkavu, Kozhikode.

As with the previous event, the Quiz Masters have graciously agreed to share the entire Questionnaire’ sets of the Prelims and the Final, as and when possible with the blog. This will be a fantastic way to have those who have not had a chance to participate in the event, to know and learn, and also stay as a reference document for all those who love knowing more on Malayalam cinema and its colorful history ( pun intended ).

So, at the risk of repeating, if you are at Kozhikode this Sunday, and you are reading this, there should be no excuse for missing this event.

Its movie history, you know. And hence it is sheer, delightful madness to dive in.

The Superb Location of the Event has its own story, you see.

Image Courtesy & Credit : My Recipe 4 U

After a two-month hiatus, the adda has been dusted, mopped and spruced up – in a way, the sprucing up bit was badly needed, to keep in tune with the times.

Here is how the “sprucing up” has manifested in terms of Content and Design.

1. The Blog Is Responsive.

Which simply means that the blog now “adapts” to whichever device you are reading it on, be it your Smart phone, tablet, laptop or your desktop seamlessly so that you can now access it On-the-Go.Simply put, the sepia trip is now enabled across all screens.

2. An online compilation of Books on Malayalam and Indian Cinema.

Thanks to Adv Narayan, we now have a repository of book titles authored on and by film makers, both from Malayalam and Indian Cinema, which you can access on the Main Navigational Bar as the OMC Library. Yours truly has just begun “serving” the exhaustive list in a web-friendly manner and is a work in progress which is intended to finish soon. Each Book Title would be linked to its source of publishing ( if available online) or linked to its Offline address source so that you would know exactly where and how to get it. Once the primary set is done with, we would start adding titles from popular online book shops linked back to their product pages. All thanks to Adv Narayan.

3. A highly engaging and attractive way to feature the Profile Archives.

Thanks to the new adopted theme, the Profiles of various film makers compiled here at the blog ( more as archives of posts of the personality) has now been displayed in a highly engaging and informative way. It is again showcased from the Main Navigational Bar than runs right across the beginning of the blog under Profiles. You could check it out here.

Nearing Completion / Coming Soon.

1. A more Prominent Showcase of the Contributors to this Blog.

I believe this adda owes a lot of its success to the different flavors ( for want of a better term ) brought in by an invaluable bunch of contributors who pitch in, regardless of their grueling schedules and professional commitments to share their knowledge on Malayalam cinema here. It is only fair that their contributions be showcased prominently and never relegated to hard-to-find Links in the swirling content. So we are going to switch on the spotlight soon, on every single of them. :)

2. An Updated Video Gallery powered by the popular video sharing sites.

Yours truly have mulled, ruminated, considered, shot down, re-considered, weighed in and then again mulled over this for quite some time. The point of contention boiled down to “legal reliability” of the media found on the popular video sharing sites. After personally getting in touch with the most popular uploaders – both with media company monikers and personal accounts, I have narrowed down on a list of video content providers whose movies would be shared here at the blog as a separate section, in an alphabetic format. It would also be tagged with its year of release and the Director, so that one could easily search and find full-length Malayalam classics in a separate Video Gallery.

So there.

Do keep writing in with your suggestions, corrections and additional information on relevant posts. Together, it would make each post here a worthwhile fount of information on the topic, helpful for anyone interested in Malayalam cinema’s yester years.

And thank you all, once again, for being around.

From the Thin Red Line (1998)

Big B, Kamal Haasan, Rajni, Mammootty and Mohanlal to share screen in film project launched by Defence Ministry.

The Defence Ministry is all set to enter the tinsel town. For the welfare of the armed forces and to gather funds for the military, the Defence Ministry has come up with a unique idea of creating a movie that lauds patriotism. Last month Defence minister A.K. Antony and film directors J.P. Dutta and Major Ravi (Malayalam) had a detailed discussion regarding this project. Dutta and Ravi have since then submitted their thoughts to the Ministry.

In a joint statement issued by the Ministry, Dutta and Major Ravi- the plot line of the movie was revealed. – “India is under attack. Terrorists have launched a six pronged attack. They have targeted South, West, East, North and Central India. The Key centers are in 6 different parts of India (Chennai, Mumbai, Calcutta, Delhi, Hyderabad, Assam and Kerala). The Government gears up into action. The top brass of Indian defence- both in service and retired are summoned to Delhi. Yesteryear heroes like Dilip Kumar, Madhu, Jeetendra, Dharmendra, Shatrughan Sinha etc. will be portraying these roles. Nana Patekar, Om Puri and Nazeeruddin Shah will portray the top brass of Indian politics. Anyway they are unanimous in opinion that only one man is there to task manage the whole issue. The duty of task management is handed over to a Field Marshal (played by Amitabh Bachchan).

Major Ravi – Filmmaker

He coordinates the situation across India. The first task Bachchan takes is to find out the best, and brave people in each region to combat the terrorists. Thus the duty of South India falls upon Kamal Haasan, Rajanikant, Mohanlal and Mammootty; of Hyderabad with Nagarjuna and Chiranjeevi, Delhi with Shahrukh Khan, Amir Khan and Salman Khan etc.” This would be the Expendables of our movie industry- said Major Ravi. “Bachchan’s character would control everything from Delhi. Thus is born our desi Dirty Dozen. How they control everything and how within 24 hours everything gets all right forms the plot of the movie. Only in the climax would all the great actors of India come together.” Major Ravi sounded upbeat about this project. Himself a decorated army officer, Major Ravi was involved in the team that investigated the death of Rajiv Gandhi. His movies in Malayalam have all been centered in the world of army. Ravi also had introduced Big B to Malayalam cinema.

Prem Nazir in Ninamaninja Kaalpaadukal

This magnum opus project is tentatively titled India. The Ministry of Defence would request each actor to join this project, sans remuneration. “In this way we can gather the much needed resources for our defence forces” said a top defence official. Planned as a multi-lingual movie – it is also hoped to rope in regional stars for the project, with regional stars assisting the superstars of the region concerned. AR Rahman will score the music while Resul Pookutty will also be involved with the movie. However, JP Dutta added that the title of the movie is still tentative, and he would seek clarification from the Home Department on whether the word “India” can be used to promote a movie.

Major Ravi said that a project of this kind had happened in Malayalam called Twenty Twenty wherein each and every actor of Malayalam joined hands for a movie. However, this would be the first time actors across the nation join hands for a project of this magnitude.

To the question asked by is whether there top actresses of the nation would make appearance in the movie, Ravi answered that there will be only cameo appearances. We plan to cast Hemamalini, Sarada, Jaya Pradha, Shobhana, Aiswarya Rai and other famous actresses of India as the women waiting and praying for their near and dear ones in an extended song sequence.“ This is a full-blown action filled movie. And there are only few female roles. The part of the Prime Minister is proposed to be portrayed by Shabhna Azmi.”

However, the Ministry’s decision has come up for sharp criticism from the BJP. Ms. Meenakshi Lekhi, the National spokesperson for BJP commented that “as much as we welcome a move to harness funds for our defence forces, coming up with a plan on the eve of the elections being announced – reeks of malafide intent. It also would amount to violation of the Code of Conduct. However, the Defence Minister was quick to point out that politics and code of conduct should not prove a barrier for the welfare of our jawans. With a wry smile he also pointed out that though there is difference in political ideology sitting MPs like Shatrughan Sinha, Chiranjeevi, Hema Malini, Jaya Prada and Jaya Bachchan are involved with the project and requested that a project of this multitude should not be hampered by petty political differences.

India is set to hit the screens on April 1st 2015. The film makers and the crew, along with me wishes each and every one of you a HAPPY ALL FOOLS DAY.

:)

[ This came originally as a detailed response from Sajith Bhaskaran to a post here on S Janaki, and knowing the amount of information he manages to pack to each response, strongly warranted a "place" of its own, and hence this post. S Jankai, P Madhuri and G Devarajan have always been an intersting trio for any Malayalam music buffs who care about Malayalam Film Playback history, for the musical creativity and output between them and a certain degree of intrigue that surrounded the great music director's choices in vocals over some of the best-loved gems from Malayalam films of yore. Over to Sajith. ]

This is a note on the post of yours on the songs of S Janaki. Your selection of songs traverses through the path of Malayalam film music right from the sixties to the nineties.

In fact, HMV, in the late sixties released an album of selected songs of S Janaki and a few songs in that list are also found among your favourites.

The S Janaki Malayalam Hits Compilation LP brought out by HMV

The Playlist of the LP Compilation was as follows :

1. Keshaadi Paadam Tozhunne
Film : Pakal Kinaavu
Lyrics : P Bhaskaran
Music : B A Chidambaranath

2. Gopura Mukalil Vaasantha Chandran
Film : Vithukal
Lyrics : P Bhaskaran
Music : T K Pukazhenthy

3. Kannil Kannil Nokki Irunnal
Film : Danger Biscuit
Lyrics : Sreekumaran Thampi
Music : V Dakshinamoorthi

4. Taliritta Kinakkal
Film : Moodupadam
Lyrics : P Bhaskaran
Music : M S Baburaj

5. Oru Kochu Swapnathin
Film : Tharavaattamma
Lyrics : P Bhaskaran
Music : M S Baburaj

6. Vaasantha Panchami Naalil
Film : Bhaargavi Nilayam
Lyrics : P Bhaskaran
Music : M S Baburaj

7. Unarunaru Unni Poove
Film : Ammaye Kaanaan
Lyrics : P Bhaskaran
Music : K Raghavan

8. Unaru Vegam Nee Suma raani
Film : Moodal Manju
Lyrics : P Bhaskaran
Music : Usha Khanna

9. Aathira Kulirulla Raavilinnoru
Film : Madhuvidhu
Lyrics : ONV
Music : M B Sreenivaasan

10. Chirikkumbol Koode Chirikkan
Film : Kadal
Lyrics : Sreekumaran Thampi
Music : M B Sreenivaasan

11. Anjana Kannezhuthi
Film : Thacholi Othenan
Lyrics : P Bhaskaran
Music : M S Baburaj

12. Kanmaniye Kanmaniye
Film : Kaarthika
Lyrics : Yusufali Kecheri
Music : M S Baburaj

This record was very popular at that time and these songs subsequently appeared in the cassettes titled Hits of S Janaki in the 70s. It is very curious to note that even a single song composed by G Devarajan appeared in this list ?

What had always piqued my curiosity was why Devarajan chose P Susheela and P Madhuri for most of his songs. However, M S Baburaj was the musician who composed most of the so-called “ever-lasting classics” for S Janaki.

Five songs in the above list were composed by M S Baburaj, two by M B Sreenivasan and one each from K Raghavan, V Dakshinamoorthy, B A Chidambaranath, T K Pukazhenthy and Usha Khanna. The selection of the above songs also missed at least one song from A T Ummer and R K Sekhar who too had composed a part  of her popular hits repertoire.

In the nineties, Compact Discs appeared and in the year 1998 HMV released its first disc of S Janaki Hits (Digitally re-mastered in .wav format with 21 songs).

The price of the CD was Rs. 275 !  To the existing LP list of songs, HMV added 9 more tracks, as follows :

[ Please click on the song title to listen to the tracks ]

1. A very interesting film directed by John Abraham. Students of a school while playing football break the statue of the founder of the school. The film unfolds the efforts of the teachers and students to collect funds for installing a new statue in its place. They succeed in their efforts and the new statue is installed. The film ends with another bunch of students playing football and again breaking the new statue.

2. This song has a another version set in a different tune and different BGM sung by yesudas – A rare phenomenon of a same song having different tunes

3. In the CD version, the songs of A T Ummer and R K Sekhar appeared.

M S Baburaj was so fond of the voice of S Janaki like Madanmohan or Salil Chowdhury addicted to Lata Mangeshkar. S Janaki was the favourite of M B Sreenivasan, V Dakshinamoorthy, A T Ummer, K Raghavan, T K Pukazhenthy and R K Sekhar. Still I feel that all music directors composed for S Janaki and they all are very good songs. It was just that some lavishly adored her vocal prowess with their compositions, but others were  a little bit choosy, in their own professional ways.

As usual, would love to know your thoughts on this. Do write in.

Pix Credit : http://www.pradipsomasundaran.com/

[ Another treasure "reclaimed" from the defunct archives of DHOOL. Republishing Saravanan Natarajan's tribute to Raveendran Master, written in the year of his passing, in 2005. Saravanan takes you through the 7 Tamil movies of Raveendran Master, amongst which are surprisingly, the Tamil versions of "Ezhu Swarangalum" and "Thenum Vayambum" !  ]

Ganga Creations’ Hemavin Kaadhalargal must have been years in the making, for while it was released in 1985, the EP sleeve of the movie mentions its year of manufacture as 1982. The film was produced by Ganga and was the second film of the acclaimed Malayalam director T.V.Chandran. Though Chandran had commenced his career as an actor in P. A. Backer’s Kabani Nadi Chuvannappol, he realized his true calling when he directed his first film Krishnankutty in 1981. Hemavin Kaadhalargal was his second film, and also his only outing in Tamil. In later years he crafted some of Malayalam cinema’s finest films like Alicinte Anveshanam, Ponthan Mada, Ormakalundayirikkanam, Mangamma, Susannah, Danny, Padam Onnu: Oru Vilapam and the recent Kathavasheshan.

About Hemavin Kaadhalargal (1985)

I gleaned the story outline of Hemavin Kaadhalargal from a staid and taciturn colleague who suddenly opened up when we were talking about the life and times of Raveendran. The mention of Hemavin Kaadhalargalmust have touched a long forgotten chord in him, for he leaned forward and asked us shyly if any of us had seen the film, and as we listened in pleasant surprise, he went on to pay a glowing panegyric to the bold theme and the genius of its brilliant director. As the title indicates, the film revolved around Hema (played by Anuradha ) and her elusive search for a perfect spouse. She finds herself drawn to one of the two young men who come her way, and marries him. But she is soon disenchanted by his narrow, male chauvinistic attitude, and walks out of what had become a stifling wedlock. She then finds the man of her dreams, an idealistic, fiery labour leader. But she realizes that she is unlucky the second time too, and his untimely demise leaves her shattered. Nevertheless life must go on for the living, and Hema continues her quest, undeterred.

Besides Anuradha, the film had in its cast Delhi Ganesh, Vijayamohan, Sabita Anand and others. The dialogues were written by writer Ramanichandran.

Raveendran’s debut in Tamil – Hemavin Kaadhalargal (1985)

It was Hemavin Kaadhalargal then, which marked the debut of the gifted Raveendran (1943-2005) in the Tamil film industry. Raveendran’s Tamil film albums amount to a paltry 7, but his genius glitters in each one of them, and the songs live on to tell the tale of the man behind the music.

Paarvai Theril from Hemavin Kaadhalargal (1985)

As you listen to “Paarvai Theril“, you realise  Raveendran’s imagination is in full play here, and right from the unconventionally structured pallavi, the song traverses along some unexplored, exciting paths. SPB seems to have given Raveendran a joyous welcome to Tamil film music, for he simply captivates with his magic. Hark at his stifled chuckle just before ‘punnagai allum..’, and how he smiles, sulks, cajoles, teases, woos and exults…what a singer !

Besides this, the movie had one other song - the spellbinding ‘Kaalai poove nee vaa’, where S Janaki summons to kaleidoscopic life the magical vistas envisaged by Raveendran. Raveendran was next heard in 1986, when as a sudden delightful deluge, 4 movies carrying his music were released, filling discerning fans with joy.

Kanmaniye  Pesu ( 1986 )

Kanmaniye Pesu  ( Aieres Cine Arts ), released in January 1986, was Rajasekar’s adaptation of Ramesh Talwar’s Hindi film Baseraa (1981). The film starred Sivakumar, Lakshmi, Ambika, Ganga & Ashwini. A lesser MD might have baulked at the thought of working on a film in whose original RD Burman had given some unforgettable songs. But the unassuming Raveendran vindicated the confidence that Rajasekar placed in him, and came out with some stunners. SJ’s ‘nalam paaduven nee vaazhathaan’, for me, ranks notches above Lata’s Baseraa equivalent ‘jahaan pe sawera ho, basera wohi hai’. Raveendran’s intricate piano and violin filigrees, and SJ’s remarkable rendition of the convoluted charanam lines makes the song very, very special.

Jahan  pe sawera ho from Baseraa (1981)

KJY’s ruminative ‘maname mayangaadhe vidiyum kalangaadhe’, Chitra’ spirited ‘vilakku vechcha’, MV & Chitra’a joyous ‘vaanam engaL ellai’ are all noteworthy compositions.

Rasigan oru Rasigai (1986)

Rasigan oru Rasigai ( Vasan Brothers ) followed in February. Directed by Balu Anand, the film starred Satyaraj, Ambika, Ramesh, Janani and others. This album remains Raveendran’s best effort in Tamil. With an ensemble of singers like Yesudas, Jayachandran, Malaysia Vasudevan, S.Janaki and Vani Jairam, and a team of lyricists like Vaali, Pulamaipithan, M.G.Vallaban and Gangaiamaran,

Paadi azhaithen from Rasigan oru Rasigai (1986)

Raveendran came out with some timeless treasures. KJY’s ‘yezhisai geethame’ and ‘paadi azhaithen’, though re-purposed from Raveendran’s creations in Chiriyo chiri and Thenum Vayambum, made Tamil film music  connoisseurs sit up and take notice of the composer.

Yezhisai Geethame from Rasigan oru Rasigai (1986)

VJ’s ‘Kaatrinile varum geetham’ is a fine racy number soaked in pristine classical notes. SJ’ s ‘unakkaagave naan uyir vaazhgiren’ fills the listener’s heart with a quiet rapture. And right from the opening humming, JC & SJ’s ‘amma adi amma sugam summa varuma’ thrills in the startling unpredictability of Raveendran’s arrangements.

Kaatrinile varum geetham from Rasigan oru Rasigai (1986)

‘Velli mookku minna minna’ has KJY enjoying a rare rustic outing, with his drawl on ‘kazhuthai saththam nalla sagunam’ adding to the appeal. MV’s ‘naadu nalla naadu’ catches your fancy even as the song unfolds with an unorthodox choral humming.

Velli mookku from Rasigan oru Rasigai (1986)

Deepavali fell on 1st November that year, and with it came two of Raveendran’s films, among a host of many high profile releases. Remember, Ilaiayraja’s landmark Punnagai Mannan, along with a formidable array like Aruvadai Naal, Kannukku mai ezhuthu, Thazhuvaatha KaigaL, Vidinja Kalyaanam and Maaveeran were all released on that day. In the midst of this enchantment, it is a wonder that Raveendran’s two albums too elicited notice.

Lakshmi Vandhaachu (1986)

Lakshmi vandhaachu ( Aieres Cine Arts ) was one of the two Deepavali releases of M Raveendran. “The Hindu” Rangarajan (who had produced Kanmaniye Pesu too) was the producer, and Rajasekar was the director again. The film was an adaptation of Hrishikesh Mukherjee’s Khubsurat. Sivaji Ganesan, Padmini, Revathi, Nizhalgal Ravi and Jayachitra were in the cast. SJ’s ‘Kaadhal vennila kannil vandhadhu’ showcases Raveendran in his scintillating elements, and not surprisingly the song could effortlessly claim a rightful share of airtime.

Kaadhal vennila kannil vandhadhu from Lakshmi Vandhachu (1986)

‘Kaalam kanindhadhu’ (KS Chitra) and ‘Sandhana nilavoli’ (MV coming out unscathed in this complex classical number!) are other enticing contents of the album.

Dharma Devathai (1986)

The other Deepavali’ 86 release of Raveendran was AVM’s Dharma Devathai . The film starred Vijayakanth, Radhika, Pallavi and Saratbabu. ‘Thodu thodu vaa mella’ (KJY/SJ) was the pick of the album. The sudden ‘Entharo mahanubhavulu’-ish Veenai flourish in the second interlude is such an imaginative touch! ‘Idhu natta nadu raathiri (SJ) and ‘Oorukku uzhaithaal’ (SPB) are other songs that I recall from the film.

Thodu thodu vaa from Dharma Devathai (1986)

Thaaye Neeye Thunai (1987)

1987 followed with Thaaye neeye thunai (Bhuvaneswari Kalamandir) releasing for Pongal. The film was directed by P.R.Somasundar, and like devotional films of yore, had a crowded cast – Karthik, Pandiyan, KR Vijaya, Nalini, Pallavi, Sudha Chandran, Srividya and many others. Raveendran worked with a bevy of lyricists like Vaali, Muthulingam, Ponnaruvi, Chidambaranathan and Thirupathooran, to come with a good album. ‘Koo kuyile kaadhal kavikkuyile’ is dainty duet by SPB & VJ. ‘Bhuvaneswari arul puri aadhari’ (KJY/Chitra) is a fervent, emotional appeal to the Almighty. Chitra’s ‘chellakkiliye’ is a caressing lullaby.

Bhuvaneswari from Thaaye Neeye Thunai (1987)

Malare Kurinji Malare (1993)

The last Tamil movie that came out with Raveendran’s music was produced by  Raja Movie Productions. This film too was some years in the making. It was directed by A. Parthiban. An obscure Raja Venkatesh was the hero, while Seetha played his pair. Raveendran had sung in this album- the song ‘deepangale neengaL vizhi moodinaal’ is a veritable aural treat. ‘Kaadhal paingiliye’ (KS Chitra), ‘Vaa ilayavane’ (KJY/ Chitra), ‘Aathoram’ ( Mano/Chitra) are other memorable songs in the album.

Vaa ilayavane from Malare Kurinji  Malare (1993)

With Malare Kurinji Malare (1993), Raveendran bid adieu to Tamil film music. His stay here was woefully brief, yet he has left behind some fleeting glimpses of his infinite capabilities. He will live on in our hearts, and his songs would continue to fascinate generations of fans.

Suraj Venjarummodu in Kerala Cafe (2009)

Apparently, there is more to Suraj Venjarammoodu than the done-to-death dialect, tasteless mimicry and cringe-worthy comedy.  Like Salim Kumar did a few years back in Adaminte Makan Abu, Suraj Venjaramoodu has turned in a fine performance in Perariyathavar which has won him the coveted Award, that he shares with Rajkummar Rao (Shahid – Hindi).

According to the jury, he was chosen for the award,

“for the dignified and quiet portrayal of a man on the lower margins of the society. His turmoil struggles and sufferings are soulfully brought out with subtle body language and eyes which transcend words.”

Credit goes to Director Dr.Biju for bringing out this face of Suraj Venjaramoodu. Dr.Biju also takes home the Award for Best Film on Environment Conservation/Preservation for the same film.

Other Winners in Malayalam Cinema include D Yuvaraj for Best Audiography  (Re-recordist of the final Mixed Track) for Swapaanam and Cristo Tomy for Best Debut Film of a Director for Kanyaka.

North 24 Katham directed by Anil Radhakrishnan Menon and produced by Surya Cine Arts was chosen as the best Malayalam Feature Film in the Regional Films Category.

Suraj Venjaramoodu on the origins of his “trademark dialect” that pigeon-holed him.