Iruttinte Athmavu – Velayudhan undergoes another exorcism
Malayalam cinema has always been inspired by the complexity of the human mind. Its narrative has been powered by the need to understand man’s innermost drives. It has closely looked at what motivates people and how people go about their lives, driven by these motives. Portrayal of the different personality types that we see around us and the behavior that is unique to each of these has been the central theme of most of these narratives. It is therefore not surprising that a good many Malayalam movies incorporated mental health themes into their storylines.
These movies have treated mental illness as yet another variant path that the human mind takes, when touched upon by circumstances that test its strength. The ingenuity of these movies has been in their portrayal of mental illness as a very natural reaction to adversity. They emphasize how ‘human’ the phenomenon of mental illness is. They do not romanticize or stigmatize mental illness, they empathize with it. These movies have brought us face to face with mental illness- an entity we choose to alienate ourselves from, in the course of our unruffled lives. They have looked at the individual in his/her social context and given us a peek into the inner lives of these individuals and their families, of which we choose to be blissfully ignorant.
By and large, most movies have used these themes as a backdrop for their plot. Some explore the behaviour that characterizes a particular mental illness – {Vadakkunokki Yanthram (1989), Thanmathra (2005) }. Yet others explore the fragility and inherent sensitivity of minds that easily wander across the thin line that separates ‘normal’ from ‘abnormal’ { Ulladakkam (1991), Novemberinte nashtam (1982) }. These movies bring out the extreme need and craving for love that characterizes certain personality types, and therefore the extreme emotional dependance and vulnerability that they exhibit.
From Vadakkunokkiyanthram (1989)
Some movies have explored mental retardation { Kakkathollayiram (1991), Sooryamanasam(1992) }. The characters in these movies are portrayed as people who apart from their childish innocence, have immense capability for love (which is often true). This makes us fall in love with these characters. Some have brilliantly explored the manifestations and roots of certain complex mental disorders - Manichithra thazhu (1993).
In terms of accuracy of portrayal, it is natural that extreme and florid manifestations of the illness are portrayed. However, most do fit into some scientific category of mental health disorder. Contrary to most other regional movies, Malayalam cinema has dealt with mental illness rather seriously and scientifically - Thalavattam ( 1986 ) is a notable exception !
From Thalavattam (1986).
Perhaps the area where it has failed miserably is on its explorations of psychotherapy. The depiction of a mental health asylum and the brutality of electroconvulsive therapy portrayed in Thalavattam still haunts many of us. And this is quite contrary to the real scenario.This negative portrayal creates a fear of admissions and of therapy. Also, the psychiatrist’s personality and his approach is made rather absurd and eccentric, as was the case with Manichithrathazhu. Probably, a collaboration between the mental health sector and the film industry could contribute to eliminating ambiguity. In this context, it would also be worthwhile to explore the role of some of these films in medical teaching and as psychotherapy.
In the past, these movies have never isolated the mind from its illness- this has been the brilliance of these movies. However, as Malayalam movies become more formula driven, there seems to be a tendency to focus on the formula (the mental illness) in isolation from the mind which has driven the illness – { Bi-polar disorder in Vadakkumnathan (2006), Alzheimer’s disease in Thanmathra (2005) } – a mere dramatization of illness, removing from it the human component. This is what we must refrain from.
By and large, these movies have helped us realize that human minds can be most fragile and therefore need to be handled with utomost care. They have forced us to introspect on our own behaviour and also shaped our attitude to mental illness. They have also perhaps increased our sensitivity to the numerous ailing and aching minds that surround us.
It is in this context that I intend to write about how the Unsound Mind has been portrayed in Malayalam cinema, the cinematic liberties the directors/script-writers have taken in either diluting or plain hiding of of certain fundamental aspects which at most times, sadly, leave the wrong impression in an unsuspecting viewer’s mind. I do hope that these short notes pave way for furthur constructive discussions on the topic and the screenplays, going forward.
First up : Manichitrathazhu (1993)
