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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.

Pix Credit & Rights : Shivendra Singh Dungarpur

{ The first in a 3-part series by Narayan Radhakrishnan with additional inputs from Gopalakrishnan Nair, Radhakrishnan P.S., Prabhakaran Nair, Sajith Bhaskaran & Sibi Salam. }

For every movie that reaches the cinema – there are tales of more than a dozen stories that never made it . Some were killed even before germination took place; some were aborted midway; and some still are imprisoned, for a lifetime hoping that someday at some time – they will be released. പെട്ടിയിലായപടം - the phrase itself originated along with the release of the first movie in Malayalam. History has it that Vigathakumaran and Marthtandavarma were relegated to the cans days after its release. Thankfully, at least they got to be released at least for 2 or 3 days. The first Malayalam movie that attained the status of “പെട്ടിയിലായത്” ? must be Bhootarayyar - (1939 – 40) made by the same team that brought us Balan. KK Aroor, M.K. Kamalam and a young comedian named SP Pillai acted in this movie – but the movie was shelved due to the death of its producer.

Bootharayar Character Sketches / Courtesy : Bindu Menon

Luck also did not favour two of the actors of Balan. Gopinath who acted as Kittu Panicker in Balan tried his hands in production with a movie called Aakasha Paravakal; and Aleppy Vincent invested money for a project called Mathavu and later Kedavilakku- but all these projects were dropped midway due to financial constraints.

1950s – 80s : of the movies of Sathyan, Nazeer, Madhu, Jayan et al

During 1950-51, novelist Balakrishnan, son of former Travancore chief Minister C. Kesavan  got enamoured by the tinsel world and decided to make a movie. Two youngsters – one with a rugged look and the other with a chocolate boy look were cast in the lead. But turbulent politics and finally the fall of the Kesavan ministry also marked the end of Balakrishnan’s dream. But the two heroes subsequently created waves in Malayalam cinema. They were Sathyan and Prem Nazeer and the movie was Thyagaseema. Another dream project pairing Sathyan and Nazeer was Ettuveettil Pillamar  (dir. Veliyam Chandran) but the project was revamped with the director shown the door and Panchavankadu came in its place, with Kunchacko himself directing the movie. In fact the first three movies of Sathyan failed to see the light of the day. They include other than Thyagaseema, Kedavilkakku and The Pious.

Kallippalakal Poothu – Panchavan Kaadu ( 1971 )

During the late Sixties – a versatile young director decided to make a movie called Kamuki (1966 – 67). An equally versatile art director joined him- and the movie was supposed to be a commercial one with songs and all that. Madhu, Adoor Bhasi, PJ Antony and Sarada were in the movie and it was based on a story by C.N. Sreekantan Nair. However, differences between the writer and the director crept up and the project was shelved. The said director also faced a problem with his next movie Prathisandhi (1971). The said movie was completed and it came up for consideration before the State Award Committee in 1971, but unfortunately did not get a commercial theatrical release. But the director’s third movie became a classic and heralded in a new era of film making in Kerala. The director was Adoor Gopalakrishnan and the art director was G. Aravindan.  Had Kamuki been completed –  this would have become the only movie in which Adoor and Aravindan collaborated. Another interesting trivia is that nowhere does Adoor mention that Prathisandhi is his first completed movie – and each official filmography lists Swayamvaram as his debut outing.

SL Puram

Madhu, Sheela and Sattar had joined hands for a movie to be directed by SL Puram. Based on his drama Nidhi, the movie version was named Poya Dinangale Vannittu Pokoo, but that too was abandoned midway. The 70s showed some interesting Prem Nazir projects being abandoned midway. One of the major movie projects which was announced with much fanfare but didn’t materialise was CID Nazir Kochiyil  (1972-73) which should have been the third part of the CID trilogy by Venu. However, differences between Venu and Nazir crept up and this movie didn’t happen. Venu went on to make Prethangalude Thazhvara with Raghavan in the lead and Adoor Bhasi reprising his role as CID Bhasi, but the film bombed in the box  office ending once and for all the CID series.

Anthaman Abdullah was a project announced with much hullabaloo by Melattoor Ravivarma – but it failed to take-off. So was the fate of Gangayar Ozhukunna Nadu planned by Hariharan with Nazir, Soman and Unnimary in the lead and of Anyar directed by Thoppil Surendran pairing Nazir and Jayabharathi. Suvarnakshetram directed by K.S. Gopalakrishnan with Nazir, Jayabharathi and Kalaranjini has been completed – but legal wrangles stand in the way of it being released. Other Nazir projects which failed to see the light of the day are Chitariya Pookkal, Kaamashastram, Eeswara Jagadeeswara, Anthassu, Gurudevan, Kunjikoonnan etc. But the major Nazir project- rather his dream project which reached only the poster level was the one he planned to produce and direct –  Kanyakumari to Kashmir.  Likewise save for the posters nothing further materialised in three Udaya movies Pattalkkarante Premakatha, Chandanathiri and Naladamayanti which were to star  Nazir. General Pictures had announced a movie adaption of Basheer’s Mathilukal  featuring Nazeer and Lakshmi in the lead – but it never took off.  Another pairing of Nazir and Lakshmi, tentatively titled  Manju (dir. Sreekumaran Thampi) also stopped at the song recording stage. Another movie titled Valarthumrigangal was initially planned with Nazeer and Jayalalitha in the lead – and noting materialised save for the announcement. Other shelved projects of the late Seventies include  Thidambu (Nazir and Swapna), Adharangal Vithumbunnu (Soman) and Mayilpeeli (Sukumaran and Jayabharathi).

Moving to the 80’s – the major movie – which still remains in the cans is Pancha Pandavar -  the last movie of the legendary Jayan. Ambily, a Jayan fan from Trivandrum has made it his mission to see that this movie finally get released. My prayers are with him. Panchapandavar is the story of 5 friends portrayed by Jayan, Raghavan, Poojappura Ravi and two others who reach Bombay in search of a job. They come into contact with a beautiful nurse (played by Saumini) and the movie is about the hullabaloo followed by a pentagular love story.

The untimely death of Jayan also shelved some major projects. These include Ormakal Olangal, Nisheedhini (in which Jayan, Kamalhassan and Sukumaran were to join hands), Sreedevi Darshanam (Jayan and Ambika – a mythology story with Jayan in a non-macho role), Vazhikal Yatharakkar ( Jayan and Soman ) and Karnanan. A project announced with much  fanfare – the first multi starrer in Malayalam which would have beaten the record created by Udyogastha was Devadasi, by Sasikumar. Prem Nazir, Madhu, Jayan, Soman, Sukumaran and Kamal Hassan were roped in to play the important roles. Adoor Padmakumar was supposed to be its producer. ‘പൊന്നലയിൽ അമ്മാനമാടി’ is a song from this unmade movie. Sasikumar’s another unreleased project was Theerathinu Ariyumo Thirayude Vedana – featuring Nazir and Jayan. An interesting trivia, some of us had the privilege to see part of this movie when it was shown as a movie within the movie Komaram. Mala Aravinadan appears in Komaram as a producer who had lost everything after investing in Kodunkattinu Shesham ! This was the last movie made by Sasikumar, in 1995 – but still has not been released.

Ponnalayil from Devdasi (1979) – unreleased

Joshi’s debut work was to be a movie called Aayiram Vasanthangal - starring Vincent. But that never happened. Sathayan Anthikkadu’s debut outing was to be a movie called Chamayam. Kamal Hassan and Nedumudi Venu were supposed to join hands. But days before the shooting was to start the producer Majeendran was shot dead by his erstwhile partner. The murder created ripples in the film circles and no one came to Sathyan’s rescue. And till date Sathyan Anthikkadu has not worked with Kamal Hassan. Likewise during the early 80’s, Sathyan Anthikkadu had planned another movie titled Chicagoyil Cheenthiya Raktham based on a story by Cochin Haneefa. All was set and the crew had reached America – save for the lead actor Nedumudi Venu. The project was scrapped and Nedumudi Venu recently confessed that it took Sathyan Anthikkadu about 20 years to get back in speaking terms with him. Another Anthikkad project which was dropped after the audio record was released is Abhimanyu.

Evidayo Oru Shatru  ( based on a screenplay by M.T. Vasudevan Nair ) is yet another movie which still stays in the cans. Sukumaran and Venu Nagavally were the lead actors in this movie made  in the late Seventies. The recent movie Ezhamathe Varavu starring Indrajith and Vineeth is virtually the same story of Evidayo Oru Shatru - adapted to the present day. Another project announced with Thilakan and Soman in the mid-80’s was Puzhayorathu Oru Poojari. The audio cassette was released – but the movie reached nowhere. N. Govindankutty – legendary screen villain and scriptwriter known for his vadakkan pattu movies had his career high when Padayottam reached the screen.

After that megahit – none of Govindankutty’s stories reached the screen. Some were dropped midway and some were announced and not started at all. Movies include Attummanammele Unniyaracha, Vadakkuninnoru Pennu, Kudamalam Kunki, Ayyappaswamiyum Vavarum, Kombanaana, Goorkha, Parayipetta Panthirukulam, Iniyethra Dooram and Bhoomi.

Next : The Superstar Movies – that never made it to the big screen 

When I think back on my childhood from where I am now at 51, I think that I had a delightful time. Though with its share of disappointments and frustrations, the good memories now far outweigh the unpleasant.

The memory I treasure most is that of my father’s old gramophone and the thirty six 78 rpm records which came with it. They were mostly KPAC Drama songs and a few movie songs from the 50’s and 60’s. My father could sing in a good baritone. He would sing those songs and my mother would join in with good spirit. Neither had any formal musical training, but I suppose the Christian hymns we sang in church and the vespers at home were training enough.

These are the songs that they used to sing to us then, and I treasure their memories now. This is a tribute to my parents, my father who left us 38 years ago on September 27th, and my mother who left us at 15 minutes to midnight on the 2nd of July this year.

1. Aathmavidyaalayame from Harishchandra (1955)

Thirunayinarkurichi Madhavan Nair / Br Lakshman / Kamukara

Without doubt this was a favourite with both my mother and father. A deeply philosophical song written by Thirunayinarkurichi Madhavan Nair and with brilliant music by Br Lakshman, it is a timeless classic of Malayalam Cinema reflecting the sad plight of the mythical figure Raja Harischandra. Let us live life to its fullest, to its best in the present without greed or excessive pride. After all, is this what life comes down to? Is that all there is?

2. Nayapaisa Illa fromNeeli Saali (1960)

P Bhaskaran Master / K Raghavan / Mehboob

Penned by the genius of P Bhaskaran Master and set to music by folk maestro K Raghavan, sung with the characteristic peppiness of Mehboob, this song by far was one of my father’s favourites. This probably reflected our financial situation at the time, but I was too young to understand. I just liked the song and the tune at that time as a toddler.

നയാപ്പൈസ്സയില്ലാ കൈയ്യിലൊരു
നയാപ്പൈസ്സയില്ലാ
നഞ്ചു വാങ്ങി തിന്നാന്‍ പോലും
നയാപ്പൈസ്സയില്ലാ.

Simple lyrics and a simple tune, but it stayed in your head for ever.

3.Vandee Vandee Ninneppole from Doctor (1963)

P Bhaskaran Master / G Devarajan / Mehboob

My father used to sing this song when he was hungry and waiting for food to be served, and we would all join in. At that time the lines “thendi nadannaal randu perkkum kayyil varunnathu kaayaane, kaayaane” to me meant that he was begging for Bananas, but I now know it means cash! :)

My dad must have been a fan of Mehboob, because most of the records he played and sang were Mehboob songs, like Aatte Potte Irikkatte and the popular megahit duet Kandam Bechoru Coataanu sung by the legend MS Baburaj and Mehboob from Kandam Becha Coat (1961). As usual, P Bhaskaran has showed his masterful touch for comedy in all the lyrics in this movie with catching tunes by Baburaj. Another of his Mehboob favourites was Theerchayilla from the movie Neeli Saali (Which, interestingly, was resung by Mohanlal in Usthaad (1999), and Kaayalarikathu Valayerinjappol (P Bhaskaran again, with music by K Raghavan who else would it be, with those folksy tunes!) from Neelakkuyil (1954).

The songs I remember my mother by are mostly lullabies (no surprise there :)) and of course the obvious favourite was Omanathinkal Kidaavo which I have followed tradition by singing to my own two kids when they were babies. Got them to sleep too! :D

4. Kannum Pootti Uranguka from Snehaseema (1954)

Listening to this song now brings tears to my eyes because I can actually remember their voices singing this duet – my mother singing

“kannum pootti uranguka neeyen
kanne punnaara ponnu makale
ammem achanum chaarathiripoo
chemme neeyurangomana kunje”

and my Dad joining in

“thaarani thoomugham sookshichu nokki
en thankakkudathine kannu vaykkathe
thamara kanakalil nidra vanallo
thamasikaatheyuranguken thankam “

Only recently did I see the movie clip for this song. A very young debonair Sathyan and dazzling damsel Padmini. A beautiful song scene.

5. Appanippam Varum from Jnaanasundari (1961)

Being the youngest, I used to follow my father around like a puppy dog. When he was sometimes late from work and I asked my mother where he was, she would sing me this song.

“appanippam varum ningalurangalle makkale
athalellaam theerumente karalinte pookkale”

and, true to her words, he would appear later with a packet or two of lollies or some other goodies for us. No matter how late it was, we would sit around the dinner table till the food would dry on our hands, talking and joking far into the night.

Today I remember my parents with utmost love and express my gratitude to them for bringing us into this world and sacrificing everything else to gives us the best education, food, shelter and the values which I now uphold in life.

I would love you to share the songs that bring back memories of your parents and your childhood.

The 5th edition of the “Oramiyil Ragini” tribute event, organised with the dual purpose of keeping the actor’s memories alive and to spread awareness on Breast Cancer will be held this year on Monday, 29 December 2014.

When : 29 December, 2014 from 5.30 pm to 8.00 pm

Where : Vyloppilly Hall, Thrissur

Entry : Free.

Organised, as with every year, by Manu J Krishnan, this year would also feature an exhibition of videos and rare photographs of the actor, along with activities on increasing awareness on Breast Cancer.

The Event Publicity Poster

Getting there.

Saint Valentine’s Day, also known as Valentine’s Day is a holiday observed on February 14 in many countries around the world. Each year on this day, many people exchange cards, candy, gifts or flowers with their special “valentine.” The day of romance and love we call Valentine’s Day. Love, as Oxford dictionary claims, is the highly searched word.

Lot many quotes are there about love like the most popular – Love is composed of a single soul inhabiting two bodies or as Lao Tzu was defining love as “Being deeply loved by someone gives you strength, while loving someone deeply gives you courage.” What is equally catchy are these two interpretations – “You know you’re in love when you can’t fall asleep because reality is finally better than your dreams – and the curious quote of Henry Ward Beecher brewed out of his own experience that “Young love is a flame; very pretty, often very hot and fierce, but still only light and flickering. The love of the older and disciplined heart is as coals, deep-burning, unquenchable.”

This Valentines, I was thinking of the romantic songs created in our Malayalam films so that it will be a gift to you all. However, the real challenge was to select a few when the list of romantic songs is so lengthy. It came down to two options – either, I pick up the few from the ocean of songs or confine my selection to a subset of melodious gems. I finally chose the second option; but then arose a new conundrum – whom amongst the duo – that I have chosen would I focus ? Let me explain .

A closer scrutiny of the Malayalam film songs in the golden era (1960 to late 70s) reveals that lot many songs were molded by teams of lyricists, musicians and singers. Vayalar – Devarajan, P – Bhaskaran – M S Baburaj – S Janaki, Sreekumaran Thampi – V Dakshinamoorthi, and it goes on. Such an era of good music does not generally get established by the effort of an individual. It resulted of course in a team effort. The so-called “Golden era” succeeded in creating a team that filled out, expanded, innovated on and amended the breakthroughs in compositions and lyrical wonders. Doubtless to say that the combination of Vayalar-Devarajan still remain among all of us and the songs the team created lives in the heart of the new generation as well. The very first song Balikudeerangale created in the year 1957, that Malayalees have cherished for generations is the best example to prove the strength of this team.

Balikudeerangale & the Genesis of the Vayalar – Devarajan ‘Team’

The EMS Government, in the year 1957 decided to commemorate the centenary of the first war of Indian Independence of 1857 that challenged and ended the power and control of British East Indian Company in India. A Martyrs’ column was positioned by Government at Palayam Thiruvananthapuram and 14th of August 1957 was the day chosen to unveil the memorial.

The cultural leaders also made up their mind to present a song as a part of the function and after brain storming decided to entrust Vayalar Rama Varma to pen the lyrics and G Devarajan to compose music for the lines. The two artists hudled in at Kottayam Best Hotel and created the great song. I used the term ‘great’ because the song has been an inspiration for many years to people who have taken part in protests and marches in Kerala’s political history. The inaugural function was organized at Victoria Jubilee Town Hall (VJT Hall) and the chief guest was Dr. Rajendra Prasad, the first President of the Republic of India. G Devarajan and K.S.George were the lead singers on that day.

The Vayalar – Devarajan ‘Team’ debuts in Malayalam cinema

Vayalar and Devarajan composed their first songs for Chaturangam in the year 1959. The next movie was Bharya and almost all songs of this film become everlasting hits.

Romantic melodies of Vayalar Devarajan Team – My Favorites

The Vayalar-Devarajan duo proved the most successful team till the death of Vayalar in the mid 1970s. Hundreds of songs contributed by the team are still part of Malayalis’ nostalgia. A wide range of subjects were dealt in the songs they created. There were Philosophical songs, devotional songs, revolutionary songs, lullabies, songs of love, separation and solitude… the list goes on. Here are the ones that stay on top of the subjects.

1. Premam, Stree Purusha Premam from Agnimrugam ( 1971)

Singer : K J Yesudas

The film produced under the Udaya banner was directed by M Krishnan Nair. This is the desi version of the famous long story – The Hound of the Baskervilles – of Sir Arthur Conan Doyle. The famous hindi film Bees Saal Baad is also based in the plot of the story. Sathyan took the role of Sir Charles Baskerville and Ravichandran (Husband of Sheela) appeared as Henry Baskeville. Ravichandran fall in love with Sheela (Sister of Stapleton). Mesmerized in her beauty, Ravichandran through the song tell what love is, that it will live forever, the paradise it can create and the magical effect of being in love. The song is a typical Devarajan melody in the major scale.

2.Ithihaasangal Janikkum Munpe from Chuvanna Sandhyakal (1975)

Singer : Sreekanth

This Manjilas Film was directed by K S Sethumadhavan. It is a fact that the digital copy of almost all films of Manjilas is available. Unfortunately, if I am not mistaken, the print of this film is not available. The story of this film was written by Balu Mahendra, the famous Cinematographer. This psychological film of Manjilas, after Punarjanmam, dealt with both Love and Horror! Sivan loves Ragini – a dumb beauty. Ragini’s sudden passing leaves Sivan shattered. It isn’t long before some of the locals witness a ghostly apparition haunting Sivan’s place. As the film progress, Sivan gets engaged with one of his relatives, but the phantom creature kills her! The mystery gets solved towards the end of the film which I am not disclosing here.

The Pallavi of the song goes like this :

Ithihasangal Janikkum Munpe, Easwaran Janikkum Munpe. Prakruthiyum
Kaalavum Orumichu Paadi Premam Divyamamoranubhoothi…
( Before the legends were born…
Before God was born
Nature and time together sang that
Love is a divine experience )

A sweet song that praises the emotion called love in the voice of Sreekanth and in the film this is rendered by Sivan (Mohan).

3. Aadamo Hawwayo from Priyamulla Sophia (1975)

Singer : K J Yesudas

Priyamulla Sophia was directed by A Vincent based on the novel of Muttathu Varkey. Prem Nazir and Priyamalini take the lead role. The film narrates the usual theme of a wealthy person loving a poor and the subsequent turns in their affair with a villain entering and so on. So far, the negative of this film is not available. Though a film which failed in the box office, I believe, is still remembered by this song since it was popular in the AIR list of songs in the mid 70s. The poet is curious to know who among Adam and eve started the long gazes and triggered the feelings of romantic love? The poet requests the flowers, moon, dreams and the birds to clarify it ! Devarajan excels both in the composition of the lyrics and BGM in this ragamalika

4. Premichu Premichu from Tokkukal Katha Parayunnu (1968)

Singer : K J Yesudas

The film produced by Navajeevan was directed by K S Sethumadhavan. The story of the film was by Thoppil Bhasi. It’s sad to know that the print of this film is lost forever. This is a film in which the noble love of Rema (Sheela) and Reghu (Sathyan) was spoiled by a gun. The same gun, later reconciled the estranged relationship of two other lovers. The film is credited with some of the golden melodies created ever in the annals of Malayalam film music.Premichu Premichu Ninne Njaan is sung by Aniyankunju (Prem Nazir), the brother of Rema. The powerful lyrics which expresses the intense love of the lover is supported by the charming composition.

5. Ashtamudi Kayalile from Manavaatty (1964)

Singers : K J Yesudas & P Leela

Raju M Mathan, under the banner Thankom Movies, produced the film Manavaatty. K S Sethumadhavan directed the film, starring Sathyan, Ragini, Madhu, K R Vijaya etc.The story and screen play was done by Aswathi Maathen. This film also featured 8 songs that include Idayakanyake (K J Yesudas), Devataaru pootha naal (A M Raja), Parakkum Talikayil (P Susheela) Ashtamudi Kayalile etc. However, to the best of my knowledge, the master print of this movie too, has been lost. I have included this song, truly fascinated by its simplicity in lyrics, composition and rendering.

The pallavi ends with “Chinna Kili Chingara Kili Chollumo Enne Ninakk ishtamaayo ?”

An interesting story associated with this song goes thus : G Devarajan married Leelamoni on 1.12.1963. Four days later, the couple reached Madras and Devarajan invited Leelamony to see how song recording is done and Ashtamudi Kayalile was the song recorded (from G Devarajan – Sangeethathinte Rajashilpi: Perumbuzha Gopalakrishnan )

6. Ashtami Rohini Raatriyil from Omanakuttan (1964)

Singer : P Susheela

Omanakuttan was released in 1964 and the film is directed by K S Sethumadhavan. Oneof P Susheela’s excellent rendering. One peculiarity of this song is that it traverse throughthe past, present and future thoughts of the character through the Pallavi, Anupallavbiand charanam of the song. Sathyan, Ambika, T K Balacjandran and Chandini are the leadactors and the song is sung by Yasodha (Chandini), sister of Sathyan. The song narratesthe auspicious moment she first saw her sweetheart in the temple and it was love at firstsight. Day after day, the love blossomed and she is joyfully willing to wait for a thousand days for her beloved. Composed in the domain of Harikhamboji, the song is also rich in its excellent BGM. The print of this film is also unavailable.

7. Aattin Manappurathe from Kanmanikal (1966)

Singer : K J Yesudas

Kanmanikal, directed by Sasikumar was a film with a theme of children separated from their father and finally they all getting rejoined. As usual, nobody knows that the print ofthis film is available. The song Aattin Manappurathu hass two versions and the popularversion we all know is also edited. The composition is a little bit similar to the song Karutha penna (K J Yesudas – Film Anna). However, the song is refreshing especially the line Aayirathi Onnu Raatrikal Angaye Swapnam Kandu Njaan ( Angaye instead of ninne is also interesting.

8. Priyathama, Priyathama Singer from Sakunthala (1965)

Singer : P Susheela

This P Susheela Song is still considered as a sublime and inspiring song to all loving hearts. Sakunthala is confused. She doesn’t know how to write to her sweetheart. In the course of the song she a little bit loudly pleads (towards the end of the anupallavi and charanam) Naatha Naatha Nee Evide (In fact Dushyanthan is resting in his tent somewhere near). Those who want to learn the craft of Devarajan should probe into this song – both its lyrics and music – to know how a song can be effectively composed and made a classic. The song is composed in Bilahari and (in the words of Devarajan) the notes of the Raagam can be easily deciphered in the part Naadhaaa…(Listen the Aarohanam and its return )

9. Thanka Talikayil from Gayathri ( 1973)

Singer : K J Yesudas

Gayathri, directed by P N Menon is shot at Thruvananthapuram. Based on a story by Malayattoor Ramakrishnan, the film tries to narrate the life of Tamil Brahmins in the Agraharams. Kottarakkara Sreedharan Mair, Raghavan, Soman and Jayabharathi are the lead actors in the film. Jayabharathi (Kanakam) fall in love with Appu (Raghavan) who is a washerman, much ‘inferior’ to the Brahmin girl. The song describes the thoughts and desires of Appu. A typical Sudha Dhanyasi composition, this song was very popular and still a favourite of all music lovers.

10. Aayiram Villodinju from Akkarapacha (1972)

Singers : K J Yesudas & P Madhuri

Akkarapacha, directed by M M Neshan is a film which tries to depict the strong family ties, however failed in the box office with the sudden demise of Sathyan who took the role of the husband of the heroine (Kaviyoor Ponnamma). Thereafter, I think that the story was reviewed and thereafter revised. The story was penned by Parappurath. The song lucidly explains the deep felt love and desire of the lovers. Composed in Mohanam, the song is soft flowing with therich bhavam of K J Yesudasand P Madhuri.

In the year 1971, a film titled Navavadhu was released. The film was directed by P Bhaskaran and produced by ALS Films. This song Aayiram Villodinju is seen included in the song book of this film and though I’ve seen this film in the cinemas, could not remember whether this song was there in this film. Somebody who knows the facts better can please supplement.

11. Madhuchandrikayude Chaya Talikayil from Anachaadanam (1968)

Singer : P Jayachandran

Anachadanam was produced by Raju M Mathan under the Tankom Movies. The story of the film was written by Thoppil Bhasi and directed by M Krishnan Nair. Prem Nazeer, Sheela, Jayabharati and Muthiah appear in the lead role. A person is murdered and theonly witness is a little girl. The CID Officer (Nazir) investigates the murder and the littlewitness is his lovers’ sister. Identification parade of all suspects was done. But the culprit was not identified. Finally, a function was organized to unveil the statue of the mayor.The statue was unveiled. The little girl cried out to all that the mayor is the murderer!I’ve seen the film in my childhood but prersently the print of the film is unavailableThe song Madhu chandrika, composed in Mohanam is an excellent rendering of P Jayachandran and the song was included in one of the Best hits of Malayalam Cinema Long Play record released in the 70s.

Listen to the interlude BGM of the song and you can appreciate the music of the song ‘Mizhi meen Pole’ of this film sing by P Susheela. Similarly, listen to the interlude BGM part of ‘Mizhi Meen Pole’ and you will get the song Madhu Chandrika. An unique experience and a rare experiment of the musician.

12. Pushya Raga Mothiramittoru from Inquilab Zindabad (1971)

Singer : K J Yesudas

Inquilab Zindabad, directed by K S Sethumadhavan was telecasted in the Doordarshanin the late 80s and now to my knowledge the print of the film is not traceable. S L Puram Sadanandan wrote the story of the film in which Satyan, Madhu Sheela and Jayabharathi takes the lead roles. This is a very beautiful romantic song rich in lyrical content and elegant in musical composition. The song expresses the delicate feelings of the lover by the effects of love which opened colours in his life. A not so popular song, I submit it for your appreciation. The song is a ragamalika and three ragas are used; yaman, Kappi (Peelu) and in the charanam Hamsanandi (Though at the beginning of the charanam, I feel that the mother raga Gamanashrama is used). The G Major is eschewed and this chasm in the centre of the raga gives rise to the emotion of yearning and fervent appeal which is effectively used by Devarajan
.

Footnote : I am very much obliged to Malayalasangeetham info for the reference I had to prepare this note and am also thankful to P S Radhakrishnan for his invaluable inputs.

Image Courtesy : Wikipedia

{ The second in a 3-part series by Narayan Radhakrishnan with additional inputs from Gopalakrishnan Nair, Radhakrishnan P.S., Prabhakaran Nair, Sajith Bhaskaran & Sibi Salam. }

With the advent of video cassettes, and later cable television, increase in the number of cinema periodicals and subsequently the world wide web and social media – movie news began to spread more rampantly. Filmi announcements became more common – and of course, number of movies unmade increased manifold.

Mammootty’s stalled / abandoned movie projects

The dropped / stalled / abandoned projects of Mammootty include Dawood Ibrahim, Vamsam and Civilian (all three supposed to be directed by Joshiy), Kayal Samrattu (in which he was supposed to play a triple role directed by Suresh Babu), Thamburan (a Lohithadas- Hariharan movie) and Siddhartha (directed by Bhadran – a movie set in Kashmir with a military background ) etc. During the last 15 years or so – many a Mammootty – Shaji Kailas project were announced but dropped. They include Paramadhikaram ( focussing on Advocate Nandagopala Marar – the cameo Mammootty did in Narasimham ); Brand Brahmanand, Shadows, Son of India, Colonel and Iritty Vavachan. Mammootty had in fact given date for another project called Kshatriya – a story about an underworld don to Shaji Kailas – but during its early stages itself the script was revamped and a new project took its place – which became the mega hit The King , released in 1995.

Mammootty in The King ( 1995 )

Though Mammootty’s screen potential was used to the maximum by MT Vasudevan Nair – two projects of this team did not materialise – the most important being Thalakkal Chandu. In fact, M.T. Vasudevan Nair and Hariharan had initially decided to make a film about Thalakkal Chandu – but as the project evolved, the focus shifted to Pazhassi Raja , and the role of Chandu became secondary, going to Manoj K. Jayan.

Manoj K Jayan as Thalackal Chandu

In fact, Mammootty’s first movie as a hero – Devalokam (1979) also was relegated to the cans. Based on a story by novelist Cherukad and directed by M.T. Vasudevan Nair – Mammootty was to play a character called Papppachan. Director Renjth’s projects with Mammootty that did not materialise include Raavu Mayunnu and Maram Peyyumbol. Shyama Prasad had announced Prajapathi based on the story “Anchu cent” by Malayattoor. Sadly these projects did not materialise.

However, some of the titles (Siddhartha and Prajapathi) were subsequently used for some masala potboilers of the star. Other dropped projects of the superstar includes Shraddanjali (dir. Priyadarshan), Salam Fort Kochi (dir. Lal Jose – wherein Mammootty was supposed to portray a mobile court judge), Ayurekha (dir. Dennis Joseph- based on the movie The Fugitive – which later became the Mohanlal-starrer Nirnayam), Rakthachandanam (dir. I.V. Sasi), Bali Sugreeva Yuddham ( planned by Balachandra Menon with Mammootty and Jayaram), Gurudev (dir. Jomon) Kaduvakkunnil Kavarachan (dir. Renji Paniker), and Theruvu (dir. Sathyan Anthikkadu based on a story by Sreenivasan).

And for trivia lovers – there is one Hindi film of Mammootty’s – Ek Din Anjane Mein (dir. Bappaditya Roy) still languishing in the cans. The movie, based on Tarashankar Bandhopadhyay’s Bengali novel Bicharak, had Mammootty essaying the central character of a judge who has to make a very consequential judgment. The project was dropped midway. Several sequel projects were also announced with the megastar in mind.

Some of it happened- some did not. The movies that did not happen include Black Investigators: CBI Part V, Mathilukalkkapuuram (sequel to Adoor Gopalakrishnan’s Mathilukal with Nayanthara – directed by Prasad), the sequel to New Delhi etc.

Mohanlal’s stalled / abandoned movie projects

Mohanlal too isn’t far behind behind as far as dropped projects are concerned. And one of his major movies that has been relegated to the cans though more than 90% of the shoot is over is Swapnamalika (dir. K.B. Devaraj). Even the trailers were released – and the highlight of the movie was that the story was one written by the versatile actor himself. Mohanlal portrayed Dr. Appu Nair, an oncologist, who comes to Varanasi to do the last rites of his father. He comes in contact with an American woman Radha Karmel- and invites her to his ancestral house. But a bomb blast happens and the whereabouts of Appu Nair is not known. Radha goes alone to Appu Nair’s family house. The movie was supposed to be suspenseful dramatic family thriller.

The Trailer of Swapnamalika

For all of you who have watched the movie Butterflies (1993) directed by Rajeev Anchal , you would recall Mohanlal in an orange auto racing suit, and also shots of him behind the wheel in the opening title credits. These shots were originally taken for Anchal’s another movie Australia (1992-93) which got shelved.

Repurposing “Australia” for Butterflies (1993)

Mohanlal was supposed to portray an racing driver whose face gets disfigured following a racing accident. Remya Krishnan was supposed to be the heroine. Sangeeth Sivan planned a movie with the superstar in the lead, and in fact the audio cassette had been released- with music by A.R. Rehman called Bhasuram. Likewise A. R. Rahman also scored music for another “discarded” Mohanlal project called Vaishnavar.

Dhanushkodi / Courtesy : Wikipedia

The movie Dhanushkodi – planned right after the success of Aryan – by Priyadarshan was also dropped midway. Raghuvaran and Girija Shettar (of Vandanam fame) were supposed to share screen space with Mohanlal. Sadly this never happened. Following Sagar alias Jackie – Amal Neerad had shown interest in reviving this project – but nothing has materialised as yet. Other Priyan – Mohanlal projects which were announced but that never took off include Kunchan Nambiar, Manikkyakallu (based on a story by M.T. Vasudevan Nair), Shathabdi, Shadkala Govinda Marar, Subhadram and an untitled project featuring Mohanlal with Dulquer Salman.

Swarnachamaram (dir. Rajeevnath) was an ambitious project which would have called for Mohanlal sharing screenspace with Sivaji Ganesan for the first time. The story was one concerning euthanasia. This project never materialised and the producer used the dates given by Sivaji and Lal to make Oru Yathramozhi. Three dream projects that have yet not materialised (actually which I hope these will be made sooner than later) are M.T. Vasudevan Nair – Hariharan team’s Randamoozham, Nair-San and Dasanum Vijayanum. Mohanlal is supposed to portray Bheeman in M.T. Vasudevan Nair – Hariharan team’s Randamoozham. The minute this movie was announced – Malayalam movie fans had taken ‘control’ over the casting details and had assigned the role of Karnan to Mammooty and Duryodhan to Kamal Haasan. But other than the announcement, the project appears to be in limbo ! Nair-San – an ambitious Indo- Japanese project was supposed to feature Jackie Chan and Mohanlal in lead roles- based on the story of a freedom fighter A.M.Nair and the same has not gone a step further than the announcement. For the past 15 or 20 years Dasanum Vijayanum had been in the making – the 4th part to Nadodikattu. Roshan Andrews, Priyadarshan and Rafi Mecartin’s name had been associated with its making. Following the success of Sphadikam, (interestingly Sphadikam also spent some time in the cans before being released) Bhadran had planned two movies – Swarnam and Sauparnikam. Swarnam had the superstar acting in a dual role. The movie was scrapped and in its place came the dud Udayon.

A clipping from Udayon ( 2005 )

Sauparnikam was another Bhadran- Mohanlal movie which was since scrapped. Anil’s Brahmadathan (audio cassette released), Lal Jose’s Cousins ( in which Mohanlal was to share screenspace with Prithviraj), Shajoon Kariyal’s Talkies (Mohanlal portrays a double role of father and son – who finds it hard to run a cinema in a village) and Raman Police; Joshiy’s Maharshi Mathews, Che Guvera, and Karnan, Shaji N. Karun’s Kadal, Sarath’s Krishna; Renjith’s Vargam and Zachariya Pothen Jeevichiruppundu, Johnny Antony’s Kudumba Chitram and Ettam Claasum Gusthiyuim; Jayaraj’s Mazha, Kamal’s Avasthantharangal, Fazil’s Dulari Harshan (in which Mohanlal and Sreedevi were to be paired), Shaji Kailas’s three movies- Daveedu Rajavu (in which Mohanlal was to play a character called Isahak Pothen); Spirit (a fight against the liquor mafia), Emperor – all failed to make it to the floors.

T.S. Suresh Babu’s Karthika Thirunal Karthikeyan was also announced to big fanfare. It was supposed to have Mohanlal portraying a larger than life character with plenty of beautiful ladies and all that. Mohanlal rejected the story saying that it was a just a rehash of the “മീശപിരിക്കൽ roles he had done in the immediate past.”

Mohanlal, Dileep and Vidya Balan in Chakram

Lohithadas had initially planned a movie called Bheeshmar with Mohanlal – it didn’t happen and later started a project which starred Mohanlal and Dileep. The movie was called Chakram and it was to be the debut of Vidya Balan in Malayalam. The same did not happen and later Lohithadas adapted the same story starring Prithviraj and ‘Noolunda’ Vijesh.

G.S. Vijayan famed for Aanaval Mothiram (based on the Hollywood movie Short Time); Charithram (re-make of Chase a Crooked Shadow) planned a movie with Mohanlal in the lead titled Chodyam. This was based on the play ‘The Unexpected Guest’ by Agatha Christie and Rahman was to act alongside Mohanlal. This also never got completed. Several sequel projects were also announced with the legendary star. The sequels that did not happen include Yodha, Nokkathadoorathu Kannumnattu (Return of Dolly) ; a sequel to No. 20 Madras Mail (floated by actor Ashokan), Garudapuranam – a sequel to Sreekrishna Parunthu  ( by Anoop Menon ).

Stalled / abandoned movie projects featuring Mammootty & Mohanlal

Likewise several projects had been announced featuring the superstar duo – Mammooty and Mohanlal.  Arakkallan Mukkalkkallan, announced in the late Nineties, kept doing the rounds even till 2011. Hello Mayavi (with the characters portrayed by Mohanlal in Hello and that of Mammootty in Mayavi coming together) is still in the news. There was also another movie called Ceaser (supposed to be directed by Hariharan) that seems to have never got beyond the paperwork.

But the best project that ought to have happened was K.G. George’s magnum opus Kamamohitham, based on the story by CV Balakrishnan. Mohanlal was supposed to portray Sargadathan and Mammootty  – Jajali Maharshi. Both had given their consent, but the project did not materialize. If it had happened, it would sure have become another feather in the ace director’s cap.

Next  : Of Suresh Gopi, Mukesh, Jayaram, Dileep, Prithviraj et al.

Image Source & Credit : https://alochemshelelohim.wordpress.com/

Heart (ഹൃദയം) usually refers to the organ which pumps our blood to various parts of the body, and Mind (മനസ്സ്) refers to where thought processes occur in us, where we feel emotions. However, in Malayalam movie lyrics, lyricists have painted vastly different pictures of various aspects of the mind using those terms interchangeably. Most of these have philosophical undertones. Here are some of my favourites.

1. Paavam Maanava Hridayam from Abhayam (1970)

Lyrics: Sugathakumari | Music : V Dakshinamoorthy

The poetic beauty of Sugathakumari’s lyrics combined with Dakshinamoorthy’s brilliant tune makes this my favourite. The last stanza goes like this:

ഒരു താരകയെ കാണുമ്പോൾ അതു രാവു മറക്കും
പുതുമഴകാൺകെ വരൾച്ച മറക്കും
പാൽച്ചിരി കണ്ടതു മൃതിയെ മറന്നു സുഖിച്ചേ പോകും…

As soon as it sees a lone star
It forgets the night
When it sees the new season showers
It forgets the long drought past
When it sees the sweet milky smile of a baby
It forgets death.

2. Hridayathinoru Vaathil from Poonthenaruvi ( 1974 )

Lyrics : SreeKumaran Thampi | Music :  MK Arjunan

Sreekumaran Thampi visualises the mind as a palatial mansion with just one door. Distressing if it is open, distressing if it stays closed.
The lyricist goes on to say:

രത്‌നങ്ങളൊളിക്കും പൊന്നറകള്‍
പുഷ്‌പങ്ങള്‍ വാടിയ മണിയറകള്‍
ശില്‌പങ്ങള്‍ തിളങ്ങുന്ന മച്ചകങ്ങള്‍
സര്‍പ്പങ്ങളൊളിക്കുന്ന നിലവറകള്‍.

What seems like deep vaults hiding precious gems
are in reality cheerless bridal chambers decked in faded flowers
Ceilings seemingly adorned with beautiful sculptures
are in reality dinghy cellars harbouring poisonous serpents.

I loved to listen to this song all the more for the spoken bits in Yesudas’s voice which was so musically delicious to my ears :)

3. Maanava Hridayam Bhraanthaalayam from Ananthashayanam (1972)

Lyrics : Sreekumaran Thampi | Music : K Raghavan

If in the previous song SKT visualised the mind as a dubious palatial mansion, in this song he says it is a mental asylum, an eternal dancing ground of incurable disease. K Raghavan’s heart-rending music and Jayachandran’s soulful rendering makes it one of my favourites.

In SKT’s words:

ഓരോ വികാരവുമോരോ ഭ്രാന്തന്‍
ഓടിയലഞ്ഞുമരിക്കും പാന്ഥന്‍ ‍

Each emotion is a lunatic
A vagrant who wanders in frenzy before his death
– So Powerful !

4. Manassoru Maayaa Prapancham from Ethirppukal (1984)

Lyrics : Unni Aranmula | Music :  TS Radhakrishnan

Incredibly difficult to fathom, man found it much easier to ascribe magical powers to it. This song says that the mind is a magical world in which Time draws and erases thousands of indistinct pictures. Several other songs also follow this theme – Manassoru Maanthrikakkoodu (Kaliveedu / 1996) S Ramesan Nair – Mohan Sithara; Manasse Neeyoru Maanthrikano (Aa Nimisham / 1977) Yusafali Kecheri- G Devarajan ; Manassoru Maanthrika Kuthirayaay (Mela / 1980) Mullanezhi-MBS; Manassenna Marathaka Dweepil (Ezhuthaatha Kadha / 1970) are just some of them.

5. Hrudayam Devaalayam from Theruvugeetham (1979)

The lyricist Bichu Thirumala compares the human mind to a temple where past become the flower offerings. Music is by the famous Jaya-Vijaya brothers.

Another in this theme where the mind could also be a temple where the love between two people becomes the worship song – Manassoru Devikshethram from ( Night Duty / 1974) Vayalar – Dakshinamoorthy;

The mind has also been represented as:

A deep sea (Manasse Neeyoralayaazhi – Surabheeyaamangal / 1986, Pappanamkodu Lakshmanan / Kannur Rajan); Manassoru Samudram (Manassoru Mahaasamudram – Kanam EJ / MK Arjunan)

A peacock dancing rapturously in happiness in anticipation of the approaching rain of love Manassoru Mayilpeda ( Akkarappacha / 1972).

As always with Vayalar lyrics, the beauty is the rich imagery presented in so few words, and the befitting music by Devarajan.

or last but not the least, a flower, a red lotus at that (Antharangam Oru Chenthaamara – Shuddhikalasham / 1979 SKT/Shyam).

This is a sweet semi-classical by Jayachandran comparing the blooming and fading of the lotus with the arrival and departure of the sun while the mind blossoms in happiness seeing a smile and fills with sadness at each farewell; But there is always the hope of another dawn fast approaching.

Courtesy : The Hindu

The most popular Film Quiz on Malayalam cinema is back. A part of the 9th edition of Reverberates, the event will be hosted by Quiz Master Rajesh Mohanan ( a familiar face in these parts, if I may add and gloat ) and will be held at Malabar Christian College, Kozhikode, on June 6, 2015 from 11.30 am onwards.

Chitramela 3.0 is being hosted in association with Quiz Panorama, and promises to bring more excitement with the biggest quiz show based on Malayalam cinema history at the school premises.

When : Saturday, 6th June 2015. 11.30 a.m onwards.

Where : Malabar Christian College, Kozhikode.

This is a team event with 2 person per team and the Registration Fee is Rs. 50/- per head.

For more information, please email the event organisers at quizfestival@gmail.com.

This is an invite to dive into sheer madness, if you know your Lekshmi from Rajalekshmi and your KP Ummer from AT Ummer.

” ധൈര്യമുള്ള ഒരുത്തനുമില്ലേഡേയ് ? ” – വെട്ടിച്ചിറ ഡയിമണ്‍

The Chitramela Film Quiz, an annual ‘institution’ of sorts as far as cultural events elated to Malayalam Cinema goes, had held its 8th edition 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.

Here is the complete set of questions from the Prelims that the Quiz Team has graciously shared with the blog. The Finals Questionnaire for the 8th Edition, and the complete set of the 9th edition will follow soon.

Hosted by: Nirmal Joy, Prasanth Vijay
Questions prepared by: Nirmal Joy, Prasanth Vijay, Alby John
Additional questions: Rajesh Mohanan, Kiranz, Gaia

As with all other Malayalam Film Quizzes posted here, the ground rules remain the same :

1. Keep the patron saint of search, Google OUT of this effort.

2. Complete answer sets would be those for who atleast post their attempts at answering either of these in the Comments section. That is being fair, don’t you think so ?

1.

1970 – കളില്‍ ഉയര്‍ന്ന സാമ്പത്തിക വളര്‍ച്ച രേഖപ്പെടുത്തിയിരുന്നെങ്കിലും 1979 – ആയപോഴേക്കും അത് കീഴ്പോട്ടായി. 1980- കളില്‍ വ്യാപകമായ രാഷ്ട്രീയ സമരങ്ങള്‍ നടന്നു. 1989 – ഇല്‍ ഭാഗികമായി തിരഞ്ഞെടുപ്പ് നടന്നു. 1990 – ഇല്‍ ‘X’ തിരഞ്ഞെടുക്കപ്പെടുന്ന ആദ്യ പ്രസിഡന്റ് ആയി. സ്വതന്ത്രമായ ആദ്യ തിരഞ്ഞെടുപ്പ് 1991 ഒക്ടോബറില്‍ നടന്നു.

മലയാള സിനിമയിലെ ഒരു കഥാപാത്രത്തിന്റെ വികാരങ്ങള്‍ വ്രണപ്പെടുത്തിയ ഒരു ചോദ്യത്തിനുള്ള hypothetical factual ഉത്തരമാണിത്. എന്നാല്‍ ആ ചോദ്യത്തിന് പ്രസ്തുത സിനിമയിലെ കഥാപാത്രം നല്‍കിയ ഉത്തരം എന്തായിരുന്നു ?

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2. ചരിത്രത്തില്‍ ആദ്യമായി മികച്ച തിരക്കഥക്കുള്ള ദേശിയ അവാര്‍ഡ് ഏര്‍പ്പെടുത്തിയപ്പോള്‍ അത് ലഭിച്ചത് ഒരു മലയാളിക്കായിരുന്നു. 1967 – ഇല്‍ അഗ്നിപുത്രി എന്ന സിനിമയ്ക്കായിരുന്നു പുരസ്കാരം.

ആരാണ് പുരസ്കാരം നേടിയത് ?

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3. ഈ ജീവിതം ജീവിച്ചുതീർക്കുന്നത്, ഹീബ്രുവിൽ ഒരു പ്രേമലേഖനം, പ്രണയിനികളുടെ ഉദ്യാനവും കുമ്പസാരക്കൂടും, കടൽ ഒരു നദിയുടെ കഥയാണ്‌, ഫേസ്ബുക്ക്

– ആരുടെ കൃതികൾ ?

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4. 1985 – ഒരേ സ്വരം ഒരേ നിറം, നിറക്കൂട്ട്‌, നോക്കെത്താ ദൂരത്തു കണ്ണും നട്ട്, 1986 – നഖക്ഷതങ്ങള്‍ എന്ന് തുടങ്ങി, 1995 – ദേവരാഗം എന്ന സിനിമയോടെ അവസാനിച്ച മലയാള സിനിമയിലെ അതിശയകരമായ റെക്കോര്‍ഡ്‌ എന്താണ്?

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5._____________’s system is a progression of techniques used to train actors and actresses to draw believable emotions to their performances. The method that was originally created and used by ____________ from 1911 to 1916 was based on the concept of emotional memory for which an actor focuses internally to portray a character’s emotions onstage. Later, between 1934 and 1938, this technique evolved to a method of physical actions in which emotions are produced through the use of actions.

– മലയാള സിനിമയില്‍ ഈ വ്യക്തി എങ്ങനെ/ എവിടെ കടന്നുവരുന്നു?

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6. ചില മലയാളി ബന്ധങ്ങൾ അവകാശപ്പെടാവുന്ന ഈ ചിത്രം ഏത്?

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7. 1943 -1945 കാലഘട്ടത്തില്‍ ബ്രിട്ടീഷ്‌ ഇന്ത്യയില്‍ നിലവിലുണ്ടായിരുന്ന ഒരു സംഗതിയാണ് ചിത്രത്തില്‍ . ഇതിനെ വിശേഷിപ്പിക്കാന്‍ മലയാളത്തില്‍ colloquial ആയി ഒരു വാക്കുപയോഗിച്ചിരുന്നു.

മലയാളത്തിലെ ഒരു നായകന്‍റെ വിശേഷണമായി ഈ വാക്ക് ഉപയോഗിച്ചിട്ടുണ്ട്. എന്താണ് ചിത്രത്തില്‍ കാണുന്ന വസ്തുവിന്റെ പേര്?

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8. 1975 ജൂണ്‍ മാസം 25-ന്‍ ബാംഗ്ലൂരില്‍ ഈ സിനിമ ചിത്രീകരണം ആരംഭിച്ച ദിവസമാണ് ഇന്ത്യയില്‍ അടിയന്തരാവസ്ഥ പ്രഖ്യാപിച്ചത്. ചിത്രവുമായി മുന്നോട്ട് പോകാന്‍ മടിച്ച സംവിധായകന് ഊര്‍ജ്ജം പകര്‍ന്നത് നിര്‍മാതാവിന്റെ ചങ്കൂറ്റം ആയിരുന്നു. സിനിമ ഏത്?

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9.കേരള സംസ്ഥാന ചലച്ചിത്ര അവാർഡിന്റെ ചരിത്രത്തിൽ 1983 – നെയും 1990 – നെയും കൂട്ടിയിണക്കുന്ന ഒരു പ്രത്യേകത ഉണ്ടായിരുന്നു. പിന്നീട് ഇതിനു സമാനമായ ഒരു സംഭവം ഉണ്ടാവുന്നത് ഇക്കഴിഞ്ഞ വർഷമാണ്‌.

എന്താണ്/ ആരാണ്  2013 – ലെ ഒരു അവാർഡിനെയും 2004 – ലെ മറ്റൊരു അവാർഡിനെയും ബന്ധിപ്പിക്കുന്നത്?

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10.പ്രശസ്തമായ ഒരു കവിതയുടെ പരിഭാഷയുടെ ഒരു ഭാഗമാണ് ഇത്.

കവി ആരാണ്?

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11.2014 ജനുവരിയിൽ തിയറ്റർകളിൽ എത്തിയ ഒരു ചിത്രത്തിന്റെ പേര് ഒരു ബഷീർ കൃതിയുടേതായിരുന്നു. ബഷീറിനും ബാബുരാജിനും സമർപ്പിക്കപ്പെട്ട ഈ ചിത്രം പക്ഷേ ആ കൃതിയുടെ പുനരാഖ്യാനം അല്ലായിരുന്നുതാനും.

ഏതാണീ കൃതി / ചിത്രം?

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12. a. ദാസീ_________ b. അഞ്ചാം പുരയിളക്കല്‍ c. ചോദ്യം ചെയ്യല്‍ d. സ്വരൂപം ചൊല്ലല്‍ e. ദേഹചേദം f. ശുദ്ധഭോജനം.

കേരളത്തില്‍ 1905-ല്‍ വളരെ പ്രശസ്തമായ രീതിയില്‍ നടന്ന ഒരു ആചാരക്രിയയുടെ ഘട്ടങ്ങളാണിവ. ഈ ആചാരത്തെ ആസ്പദമാക്കി നിര്‍മ്മിക്കപ്പെട്ട ഒരു സിനിമ മികച്ച സിനിമയുടെതടക്കം നിരവധി ദേശീയ അവാര്‍ഡുകള്‍ കരസ്ഥമാക്കി.

സിനിമയേത്? ആചാരത്തിന്റെ പേരെന്ത്?

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13. ശ്രീലങ്കയിലെ പഠനകാലത്ത് സ്കൂളിൽ നിന്ന് പോയ ഒരു ട്രിപ്പിൽ “The Bridge on the River Kwai” യുടെ ചിത്രീകരണം നടക്കുന്നത് കാണാനിടയായത്‌ ഈ ബാലന്റെ ജീവിതം മാറ്റിമറിച്ചു. ഡേവിഡ് ലീൻ എന്ന സംവിധായകന്റെ വ്യക്തിപ്രഭാവമാണ് സിനിമയിലേക്ക് അവനെ വലിച്ചടുപ്പിച്ചത്.

പൂനെ ഫിലിം ഇൻസ്റ്റിറ്റ്യൂട്ടിൽ നിന്ന് 1969-ൽ സ്വർണ്ണമെഡൽ വാങ്ങി പാസ്സായ ഈ വ്യക്തി ആര്?

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14.ഏതു നടനെ കുറിച്ചായിരുന്നു ബ്രിട്ടനിലെ പ്രശസ്തമായ ഗാര്‍ഡിയന്‍ ദിനപ്പത്രം “The face of unemployment” എന്ന് വിശേഷിപ്പിച്ചുകൊണ്ട് ലേഖനമെഴുതിയത്?

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15. ആരുടെതാണ് ഈ ബാനർ?

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16. പ്രശസ്തമായ ബ്രിട്ടീഷ്‌ ഫിലിം ഇന്‍സ്റ്റിറ്റ്യൂട്ട് നടത്തിയ ലെസ്ബിയന്‍ ആന്‍ഡ്‌ ഗേ ഫിലിം retrospective – ലേക്ക് തിരഞ്ഞെടുക്കപ്പെട്ട ഏക ഇന്ത്യന്‍ സിനിമ ഒരു മലയാള ചിത്രം ആയിരുന്നു. ഏതു ചിത്രം ?

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17. ബ്രജേഷ് മല്ലയ്യയെയും കുടുംബത്തെയും കൊലപ്പെടുത്തിയതിനു ആരാണ് ശിക്ഷിക്കപ്പെട്ടത് ?

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18. ഉൻ സമയൽ അറയിൽ (തമിഴ്),
ഉലവച്ചാറ് ബിരിയാണി (തെലുങ്ക്),
ഒഗ്ഗറനേ (കന്നഡ),
__________ (മലയാളം) ?

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19. ഐ പി സി 323, 324, 379 വകുപ്പുകള്‍ക്കും ആംസ് ആക്റ്റ് 25(1)B വകുപ്പിനും മലയാള സിനിമയുമായുള്ള ബന്ധമെന്ത്?

Have a great Sunday!

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The 6th edition of the “Oramiyil Ragini” tribute event, organised with the dual purpose of keeping the actor’s memories alive and to spread awareness on Breast Cancer will be held this year on Saturday, 26 December 2015.

When : 26 December, 2015 from 5.00 pm to 8.00 pm

Where : Vyloppilly Hall, Thrissur

Entry : Free.

Dr KG Radhakrishnan ( District President Kerala Shastra Sahitya Parishat ) would inaugurate the event and will have Karimpuzha Radha  playback  singer as the Chief Guest. Organised, as with every year, by Manu J Krishnan, this year would also feature an exhibition of rare photographs of the actor, along with activities on increasing awareness on Breast Cancer.

The Event Publicity Poster

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.

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)