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EDITED BY
BITCHU KHAN
bichu666@gmail.com
1
Even much before the arrival of cinema, the people of Kerala were familiar with
moving images on the screen through the traditional art form ‘tholpavakkuthu’
(Puppet Dance). Usually exhibited at festivals of village temples, ‘tholpavakkuthu’
uses puppets made of leather with flexible joints. These joints are moved using
sticks and the shadow of these moving puppets are captured on a screen using a
light source from behind, creating dramatic moving images on the screen. Stories
from the mythology were told so, with accompanying dialogues and songs with
traditional percussions like the Chenda. ‘Tholpavakkuthu’ uses some of the
techniques widely used in cinema like the close-ups and long-shots.
Apart from the art of ‘tholpavakkuthu’, which exhibits the nature of cinema, many of
the folk arts and classical dance forms like ‘Kuthu’, ‘Koodiyattam’ and ‘Kathakali’
exhibits very high visual qualities in their form. My be this legacy of Kerala’s visual
culture lead the filmmakers of Kerala to take up cinema in a different way, rather
than mere plain story telling, than anywhere else in India, and the people of Kerala
to appreciate them.
2
The first Malayalam cinema was produced and directed by, J C Daniel, a dentistby
profession who didn't had any prior experience with cinema. His
film Vigathakumaran was released in 1928, but failed economically. But it is notable
that while mythological films ruled all over the Indian cinema arena, J C Daniel had
the courage to produce the first ever Malayalam film with a social theme. The
economic failure of Vigathakumaran discouraged him from producing further films.
Indian cinema had already entered the talkie age even before Marthandavarma was
released. Balan, the first Malayalam cinema with a sound track was released in
1938. Produced by Tamilian, T R Sunderam at the Modern Theatres, Balan was
directed by Notani. A melodramatic film, with more Tamil influence than
Malayalam, Balanfeatured the struggle of two orphaned children, Balan and his
younger sister, oppressed and exploited by their evil stepmother until they are
rescued by a kindly lawyer. Even though this film could be considered irrelevant in
artistic sense, its economic success created a base to the Malayalam film industry.
Followed by the success of Balan,Jnambika was released in 1940.
After Prahlada (1941), Kerala had to wait till 1948 for the next film. Nirmala (1948)
directed by P J Cheriyan explored the possibility of music and songs in Malayalam
cinema. Legendary Malayalam poet, G Shankara Kurup penned the lyrics for this
3
Inspired from an imported film - Life of Christ - Phalke started mentally visualising
the images of Indian gods and goddesses. What really obsessed him was the desire
to see Indian images on the screen in a purely Swadeshi venture. He fixed up a
studio in Dadar Main Road, wrote the scenario, erected the set and started shooting
for his first venture Raja Harishchandra in 1912. The first full-length story film of
Phalke was completed in 1912 and released at the Coronation cinema on April 21,
1913, for special invitees and members of the Press. The film was widely acclaimed
by one and all and proved to be a great success.
It is notable that none of the Malayalam films that came before the independence of
India reflected the mood of the struggle for independence and also the film that
came after independence and the early 1950s reflected that torrid period of Kerala,
where the Communist upspring was taking place changing the entire social climate
of the State. Cinema continued to be dramas happening in a totally artificial and
alien world.
Jeevithanouka - 1951
(The boat of life)
Jeevithanouka was a turning point for Malayalam cinema. This highly dramatic
musical film, which narrated the story of ego clashes in a joint family, was mainly
directed towards the women audience. Jeevithanouka was a huge success, and can
be considered as the first 'super hit' of Malayalam cinema. Thikkurishi Sukumaran
Nair, an actor from the stage, became the first 'superstar' of Malayalam cinema after
the success of the film. But this success had also an adverse effect on Malayalam
cinema. Films that were produced after Jeevithanouka were made according to this
success formula, and nothing creative was seen for a long time. Superstars took
over the driver's seat and directors were forced to the background.
4
Ramu Karyat
P Bhaskaran
A Vincent
Neelakuyil - 1954
(The Blue Cuckoo)
Even though Malayalam cinema right from the first talkie, Balan ventured into social
themes instead of cosmetic dramas from Hindu Mythology, like anywhere else in
India, they stood far away from social realities. While cinema elsewhere in the world,
except India, took big leap forward in devising new cinematic forms making cinema
an art form by itself, the Indian filmmakers right from the beginning considered
cinema as a platform for combining all the art forms available in India. This was the
concept about cinema even among the leading film critics then. Malayalam cinema
was no exception in this regard. The first International Film Festival of India held in
1952 opened up the window to a new world of cinema to the Indian filmmakers. For
the first time they understood that cinema has advanced much further than the
make-belief Hollywood films, which were the only source of foreign films then. Films
like Bicycle Thief, which was shown for the first time in India compelled a new
generation of filmmakers to take a new path of filmmaking. Satyajit Ray’s Pather
Panchali triggered the movement, which was taken up by other new generation
filmmakers in Northern India.
Malayalam cinema too took a new path during the mid 1950s towards more down-to-
earth social realities, rather than cosmetic social dramas. But this change in
sensibility was not due to the effect of world cinema on them, as the Malayalee
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filmmakers were virtually absent at the film festival. Hence, even though Malayalam
cinema became more sensible during the mid 1950s, it had to wait till the mid 1970s,
till the new breed of FTII trained filmmakers started filmmaking, for Malayalam
cinema to become ‘real cinema’.
After the success of Neelakuyil, films with authentic Malayalam stories set in the
backdrops of Kerala villages started arriving. Minnaminingu directed by Ramu Karyat
and Rarichhan enna Pouran by P Bhaskaran were noted films produced during the
late 1950s. Takazhi Shivashankara Pillai's famous novel Randidangazhi was also
seen on the silver screen.
In 1961 Kandam Bacha Coat, the first full-length colour film in Malayalam was
released. This was an adoption of a famous social drama. Bhargavi Nilayam (1964)
directed by A Vincent is a notable film of this period. This was a cinematic adoption
of renowned Malayalam writer Vykom Muhammad Basheer's novel. Vincent also
directed some of the best films of early ages like Murapennu, Nagarame Nandi,
Asuravithu and Thulabharam. Irutinte Athmavudirected by P Bhaskaran, based on M
T Vasudevan Nair's story, gave a new face to superstar Prem Nazir, who till then
was seen only in romantic hero's role.
8
Chemmeen - 1965
(Prawn)
Post-Chemmeen Era
Here onwards Malayalam cinema got split into two distinct streams, one that
considered cinema’s artistic qualities as its primary objective, which kept away all the
formulas of popularity and the other the crass commercials, which took into
consideration only the possibilities to entertain the mass and spin money.
9
The growth of film society movement and the screenings of world classics forced a
drastic change in Malayalee film sensitivity during the early 1970s. A new movement
often termed as the 'New Wave Malayalam Cinema' or the 'Malayalam Parallel
Cinema' emerged. Adoor Gopalakrishnan made his first film Swayamvaram in
1972, which made Malayalam cinema noticed at International film arena. G
Aravindan through his Uttarayanam in 1974 accelerated this radical change in
Malayalam cinema.
Another major stream of Malayalam cinema that appeared during the 1970s, which
was a synthesis of the highly commercial popular cinema and the parallel cinema
from which the masses always stayed away, was the 'middle-stream cinema'.
These films, mainly from directors like K G George, Padmarajan and Bharathan,
had meaningful themes but had popular forms of presentation and had influenced a
generation of film viewers.
The Film Society Movement, which started in 1960s and gained momentum during
the 1970s, brought in a new consciousness about cinema as an art form and stood
for a different kind of cinema, which was termed as 'parallel', 'newwave' or 'art'
cinema. Contrary to other parts of India, this movement was never an urban
phenomenon, but something that cut across all terrains and sections of society. At a
point of time, the great classics of World Cinema reached even the rural Kerala and
discussions on them were held at the layman's level.
The 'Chitralekha Film Society' formed under the leadership of Adoor Gopalakrishnan
and Kulathoor Bhaskaran Nair in 1965 at Trivandrum, was the first Film Society in
Kerala, though even before this there was an attempt at Trissur to form a Film Club,
namely the Trissur Film Club in 1955. 'Chitralekha' also did work towards formation
of Film Societies in Schools and Colleges and also succeed in setting up a film
studio of its own. Soon Film Societies were formed at other parts of Kerala.
10
The Naxalbari agitations, student revolt in Paris, Vietnam war and the hippie
movement formed the general ambience of the 1970s. This agitated environment
combined with Malayalam literary scene, which was already vibrant with the new
'modernist' ideas became the foundation for the spread of Film Societies all over
Kerala during the 1970s. More that a hundred Film Societies sprouted all over
Kerala, of which some of them have completed more than 25 year now. Even today,
Kerala has the largest number of Film Societies in India and still trying to create
awareness about cinema as a serious art form.
Among the Film Societies of Kerala, the 'Odessa' experiment, started by John
Abraham, stands apart from all the experiments in various ways. It never had a
formal / legal structure or any political backing. Its attempt was to attack the problem
comprehensively at all levels - exhibition, distribution and production, by ensuring
people's participation in all its activities. But with the untimely demise of John
Abraham, 'Odessa' movement started waning.
Started a decade ago, the International Film Festival of Kerala, now held
permanently at Trivandrum, has grown into one of the best in India and a notable
one in the international circuit. Apart from showcasing the latest and classics of world
cinema, IFFK also becomes the forum for open discussions on cinema. IFFK also
has a competition section for Asian, African and Latin American films. IFFK is
conducted during the month of December every year by the State run Kerala
Chalichatra Academy.
Popular cinema of Malayalam rarely tried to adopt the language of cinema till the
1980s. Delivering highly dramatic dialogues and singing and dancing in a set that
11
Fazil created a narrative style of his own, and created super hits without the help of
superstars. He introduced many newcomers to Malayalam cinema, most of them
later became stars. His first film Manjil Virinja Pookkal (1980) itself established him
as one of the most noted director of commercial Malayalam Cinema. This film also
saw the birth of a greater and later superstar, Mohanlal. Films like Ente
Mammattikkuttyammkku (1983), Nookketha Doorathu Kannum Nattu (1983), Ente
Sooryaputhrikku (1991)
and Manichitrathazhu (1993) were all trend-
setting films.
was a milestone in the history of popular cinema in Kerala. But when many soft-porn
movies started arriving on this format, I V Sasi started with star-studded films
like Angadi (1980). A series of big-budget films came from him after the huge
success of Angadi. While his films
like Trishna (1981), Raagam, Anubandhamand Aalkkuttathil Thiniye (1984) with
screenplay of M T Vasudevan Nair where artistically superior, films like Ee
Nadu (1982), Vartha and Aavanazhi (1986) with screenplays of T.Damodaran were
made with a political flavour. I V Sasi's film 1921 (1988), a historical, stands apart.
Kamal started with Mizhineerppookkal (1986) and is one of the biggest presence in
Malayalam popular cinema with almost all his films becoming commercial
successes.
Some of the other directors who have guaranteed commercial success are
Rajasenan, Vinayan, Bhadran, Anil Babu, Thambi Kannanthanam and T S Suresh
Babu.
13
The first Indian film shot and exhibited in digital format, Moonnamathoral gets
released in 2006.
14
Malayalam Today
Even though the new millennium started with Malayalam cinema facing threats never
seen before, it seems to have over come them within few years. When, the
emergence of cable television along with other factors threatened the very existence
of commercial cinema, soft-porno films, often termed 'Shakeela films'- Shakeela
being the name of the actress who filled the silver screen during those period- filled
up the cinema halls and became commercial successes. Malayalam cinema
managed a comeback with several meaningful commercials and the 'Shakeela films'
slowly disappeared.