July 4, 2022


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Malayalam cinema and the multiverse of misogyny

17 min read

(Caution: This newsletter comprises spoilers)

Ahead of movies like Thondimuthalum DriksakshiyumEe.Ma.Yau and Moothon, which delved into the depths of interpersonal relationships and ensured an even portrayal of its complexities, Malayalam cinema was once as soon as well known for allotting probably the most maximum celebrated circle of relatives/home dramas.

Maximum millennials and individuals of Gen Z should have no less than heard this as soon as from the elders: “The flicks of in this day and age are in point of fact unhealthy. The way in which they endorse unhealthy conduct akin to ingesting, smoking, use of gear and premarital intercourse is traumatic. It’s a must to watch the films of our time to grasp what cinema will have to in reality be like.”

Ee.Ma.Yau (2018)

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True to an extent… If we take into accounts motion pictures like Irakal (1985), Elippathayam (1981) and Deshadanakkili Karayarilla (1986), they have been certainly game-changers and helped the Malayalam movie business make a reputation for itself at the global area.

Irakal (1985)

On the other hand, a lot of these motion pictures that have been a part of the New Wave motion (early Seventies to mid Nineteen Eighties) — a right away results of the upward push of movie societies in Kerala — didn’t eke out a acquire because the individuals of the similar era stayed clear of gazing those motion pictures in theatres again then. Take into account that, a just right selection of them bombed on the field place of business.

Then which motion pictures are they boasting about now?

Input the Malayalam circle of relatives dramas… Simply by checking the field place of business numbers and reruns of those flicks on TV channels, one can simply needless to say those are the ‘qualitative works’ our older era is regarding. Even though many have, lately, known as out filmmakers and films that strengthened the anti-Dalit narratives and likewise the way in which girls have been portrayed on display, we, then again, incessantly omit how some filmmakers fortified the ‘just right girls/unhealthy girls’ narrative via circle of relatives dramas.

Even because the refrain urging all to “watch cinema as simply cinema” is louder than ever, it will be important to understand that the appreciation those motion pictures nonetheless obtain obviously denotes the deep-rooted patriarchy in our society and the way we proceed to stay mute spectators to the similar.

Unfortunately, a lot of these motion pictures are full of just right songs.

(Notice: With none doubt, there are masses of alternative Malayalam motion pictures which might be much more problematic, in a socio-political sense too. There are motion pictures akin to Chunkzz (2017) and Dhamaka (2020) that display girls as simply eye chocolates or mere ‘props’ only current to obtain sexist remarks from males. On the other hand, right here we’re going to keep on with the flicks of only some circle of relatives drama-makers and notice how their feminine characters, although they seem no longer similar to one another, lead equivalent lives with equivalent persona arcs in several ‘cinematic universes’. So, is the multiverse idea in reality true? Malayali male filmmakers experimented with the multiverse subject material many years ahead of Surprise did? Perhaps, possibly no longer.)

Balachandra Menon Cinematic Universe

An all-rounder who garnered repute no longer simply by showcasing his abilities in quite a lot of geographical regions of movie manufacturing but additionally by means of introducing a number of contemporary skills, together with Shobana, Parvathy, Maniyanpilla Raju and Karthika, within the 80s, Balachandra Menon was once arguably one of the vital a success multi-talented filmmakers of his era.

Balachandra Menon

On the other hand, all through his two-decade lengthy filmmaking occupation (since his directorial debut in 1978), Menon time and time once more banked at the patriarchal notions that create a ‘whole circle of relatives’. Consequently, maximum feminine characters within the Balachandra Menon Cinematic Universe (BMCU), although they hail from other socio-economic backgrounds, lead just about equivalent/parallel lives and finally end up turning into the stereotypical ‘supreme Malayali other halves.’ Past due lyricist S Rameshan Nair, in certainly one of his songs, obviously describes the qualities of the archetype in his track Poomukha vathilkkal sneham vidarthunna poothinkal aakunnu bharya from the 1986 film Raakkuyilin Raagasadassil.

Maximum feminine characters within the BMCU get started off as daring and unapologetically themselves, possibly with a contemporary (for that length) type sense, however quickly fall for the main males who bodily easiest them and ‘right kind’ their behaviour by way of humiliation and bodily violence.

Whilst it’ll appear that Karyam Nissaram (1983) and Chiriyo Chiri (1982) don’t have anything else in not unusual, a easy research of the nature arcs of each feminine leads will turn out in a different way.

Karyam Nissaram (1983)

A glimpse on the means the characters performed by means of Poornima Jayaram (Parvathi) and Swapna (Sethu) have been written underline how Menon movies celebrated the “girls are/will have to stay not as good as males” faculty of idea by means of bringing within the age-old perception of “if girls aren’t ‘well-behaved’, it could have an effect on the team spirit of the circle of relatives”.

Thru Sethu, Menon gave validation to the idiosyncrasy of Malayali males that even self-reliant and hired girls dream of a spouse who can ‘right kind’ their behaviour via modes of bodily punishment (vis-à-vis the nice ol’ slaps), in case they do anything else flawed.

Parvathi’s mom Amminikutty (performed by means of Lakshmi) had it worse. Although her husband Unnithan (Prem Nazir) was once unemployed, she too was once schooled, tormented and emotionally manipulated into believing that it was once flawed to be a matriarch whilst the hubby was once nonetheless round; and regardless of how the spouse heckled and humiliated her, she needed to stay servile.

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In Shekhar’s (Menon’s persona in Karyam Nissaram) phrases, “Girls will have to by no means regulate or command males. On the other hand, it’s all the time really helpful that each lady has a person of their lifestyles to regulate and command them.”

Achuvettante Veedu (1987), every other film from the BMCU, additionally appears to be like down upon girls who stand their floor. It’s befuddling that the way in which the writer-director offers a gray colour to Aswathy (performed by means of Rohini) is by means of making her unapologetic and outspoken, after the tale empathised with the soft-spoken, dhavani-draped more youthful model of the nature for a very long time.

Briefly, maximum Menon circle of relatives dramas strengthen that irrespective of how boastful, abusive, guileful and self-centred the patriarchs are, the onus of saving the circle of relatives will all the time be at the girls, who’ve to understand that they don’t have any lifestyles with out the lads of their lives. Sobhana (performed by means of Shobana) from April 18, Valsala (Shanthi Krishna) from Nayam Vyakthamakkunnu, Parvathi (Annie) from Ammayane Sathyam, and Vasantha (Geetha) and Beena (Parvathy) from Kuruppinte Kanakku Pustakom have all been ‘corrected’ this manner, serving to them grow to be ‘higher girls.’

Thulasidas Cinematic Universe

Thulasidas, although he hasn’t made as many motion pictures because the others at the checklist, is every other filmmaker who created a couple of superhits by means of repurposing the similar method.

Maximum of his motion pictures display girls as both an extension of the manic pixie dream lady (MPDG) trope or those keen to undergo any more or less struggling to stay their lives with the protagonist males who’re utterly ignorant in their emotions (Nandini Raichand, performed by means of Jaya Bachchan, from the 2001 blockbuster Kabhi Khushi Kabhie Gham can also be taken for example to grasp this stereotype).


As an example, Ganga (performed by means of Meena) from Mr Brahmachari (2003) and Aswathy (Sangita) from Manthrikumaran (1998), all through the flicks, are desperately engaged in grabbing the person’s consideration. Whilst some of the males doesn’t give two hoots in regards to the lady’s lifestyles, the opposite marries the girl most effective as a result of he idea she labored as an air-hostess.

In each the flicks, regardless of the male characters taking the ladies’s emotions as a right, the latter finally end up bearing all of the brunt of the lads’s movements only for the sake of preserving the bottom in their respective households intact.

On the identical time, Thulasidas’ Kouthuka Varthakal (1990) is a vintage instance as to how the Casanova trope is incessantly romanticised and the insensitivity meted out to ladies by means of such males overpassed.

On this flick, after appearing more than one circumstances that identify the truth that Mathew Ninan Koshy (Mukesh) is a ‘participant’, we’re presented to a brand new ludicrous subplot that accentuates Mathew’s ‘ability’ additional.

On this a part of the film, Mathew’s roommate Ravi (Suresh Gopi) shamelessly puts a big gamble with the previous by means of asking him to check out and make a lady named Ashwathy (Urvashi) fall for him, with out telling Mathew that she is his fiancée.

Though we’re proven this behaviour by means of the lads, all the blame falls on Ashwathy when she tries to lend a hand Mathew win the guess with out realizing that she is getting used as a pawn of their masculine ego fight.

Right here too, the truth that the lads behaved like whole narcissists is overpassed and on the finish, the accountability of saving their dating falls on Ashwathy.

Dhosth (2001) is every other Thulasidas flick that celebrates the ‘attractiveness’ of bromance (absurd) by means of making the ladies undergo. Even though faculty pals Ajith (Dileep) and Vijay (Kunchako Boban) get started off at the flawed foot, they quickly grow to be BFFs. In the meantime, Vijay realises that the girl he’s been stalking is Ajith’s sister Geethu (Kavya Madhavan). On the other hand, since his love is truthful (the filmmaker has made this gorgeous transparent by means of making him stalk her repeatedly), Geethu too falls for him. Within the interim, Vijay learns about Ajith’s different sister who eloped with certainly one of his shut buddies, resulting in Ajith’s father’s loss of life. As Ajith narrates this as a traitorous act, Vijay, in a bid to save lots of his friendship with the previous, makes a decision to sacrifice his love for Geethu. Neither does he keep in touch the similar with Geethu, nor give her any rationalization as to why he’s behaving in a negligent way. Now, it’s Geethu’s accountability to save lots of their dating.

Mr Brahmachari (2003)

The film additionally glorifies patronising girls and justifies (male) sibling abuse at the pretext of revealing further care.

Thulasidas’ Sooryaputhran (1998) too is a difficult watch, during which a lady is utilized by an ultra-rich guy to get a child followed and when she starts in quest of subject material favours in go back, he in an instant begins plotting methods to do away with her.

And identical to the 2008 Bollywood hit Rab Ne Bana Di Jodi which reintroduced the “making other halves realise their love for husbands by means of manipulating them” tactic, Thulasidas used the similar motif and created Melevaryathe Malakhakkuttikal in 2000!

There isn’t a lot to mention about this film as the one factor it specializes in is that the spouse is extra subservient to her mom than in opposition to her husband which irks him. The couple’s 4 youngsters, all ladies, love their father a little an excessive amount of and therefore, need their mom to forestall being subservient to the grandmother and get started being submissive to their father. What makes the film much more ugly is a plan that the male lead Sethumadhavan (performed by means of Balachandra Menon) hatches to make his spouse ‘realise’ that he’s significantly better than different males available in the market.

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Melevaryathe Malakhakkuttikal (2000)

As a part of this technique, Sethumadhavan arrives on the space the place his spouse and youngsters stay, by means of dressing up as his father, a sexual assaulter and Sethu’s archrival, to lend a hand them combat towards the previous. Sethu, within the guise of the aged guy, begins misbehaving with all girls, together with his spouse, to turn out the aforementioned level.

After all, regardless of realising that it was once Sethumadhavan who was once dwelling of their space, all of the girls cheer as they learnt a precious lesson: regardless of how males attempt to cheat or violate you, if they’re doing it for the sake of shielding your circle of relatives, do flip a blind eye to them being absolutely the worst.

Anthikad Cinematic Universe

Probably the most a success filmmaker within the checklist, Sathyan Anthikad, is the author of a number of commercially a success movies and is well known for his collaborations with Mohanlal and actor/publisher Sreenivasan.

He too become an expensive identify to Malayalis by means of making probably the most maximum celebrated circle of relatives dramas. On the other hand, it’s plain {that a} just right selection of them are problematic, particularly on the subject of the portrayal of girls.

Sathyan Anthikad

Two motion pictures he made all through the past due 80s – Ponmuttayidunna Tharavu (1988) and Thalayana Manthram (1990) – carried misogyny and brilliantly ‘proved’ that girls are the basis reason behind all issues that males face. Each motion pictures have since then stood as a testomony to Chandu Chekavar’s discussion in Oru Vadakkan Veeragatha, penned by means of veteran publisher M T Vasudevan Nair: “Girls will see issues that others don’t; [they] will curse whilst pretending to be frolic; smile whilst crying; hate whilst needing…”

Each Ponmuttayidunna Tharavu and Thalayana Manthram function the fantastic Urvashi, turning in incredible performances, like all the time, as the feminine lead. On the other hand, her characters in each motion pictures are crafty, devilishly devious and egoistic. Whilst she performs Snehalatha, an individual who dumps her boyfriend for egocentric causes , in Ponmuttayidunna Tharavu, her persona (Kanchana) in Thalayana Manthram is an avaricious lady who wrecks her husband’s circle of relatives. Whilst the feminine leads in each the flicks are proven in a gray colour, the writers with ease whitewash the male protagonists who’re both incapable of beginning a circle of relatives and fleece their companions, or are those who forget about the humiliation being confronted by means of the ladies from inside the circle of relatives. After all, the ladies are portrayed as those answerable for sabotaging the households.

Ponmuttayidunna Tharavu (1988)

In later years, Anthikad shifted to most sensible equipment and began making flicks that spotlight the significance of keeping up familial relationships, it doesn’t matter what. Two motion pictures that depict this doctrine are Innathe Chinthavishayam (2008) and Bhagyadevatha (2009). Each the flicks organize to gaily empathise with the male protagonists although they’re obviously conniving and each works conclude that girls will have to all the time forgive their husbands, even if they’re at fault, and provides them (no longer one or two) however as many probabilities as conceivable in lifestyles, irrespective of how abusive they’re.

Whilst Innathe Chinthavishayam offers with the lives of 3 girls, who stored themselves from the clutches in their husbands – one a cheater, every other a person who is totally towards his spouse main an unbiased and self-sufficient lifestyles and the 3rd an especially possessive, jealous and insecure guy – Bhagyadevatha offers with, or extra as it should be tunes out the abuse related to dowry harassment.

In each the flicks, despite appearing quite a lot of instances from which audience can conclude that the lads are at fault and will by no means be empathised with, the maker reveals the silliest of how to reunite the survivors with their abusers, only for the sake of preserving the bases of the households intact.

Anthikkad’s Kochu Kochu Santhoshangal (2000) additionally had a equivalent possessive, jealous and insecure guy, ruining the lifetime of his artiste spouse. On the other hand, even then the maker commiserates with the protagonist appearing that he’s a ‘just right father’.

Innathe Chinthavishayam (2008)

Any other certainly one of Anthikkad’s maximum problematic movies is Yathrakarude Sradhakku (2002). Even after Ramanujan ( Jayaram) ruined Jyothi’s wedding ceremony (past due Soundarya), he was once portrayed as the only with a golden center — certain, possibly for his buddies. However from Jyothi’s POV, he’s any individual who concealed the truth that he had emotions for her, thwarted her marriage, didn’t right kind/forestall his good friend when the latter lied to everybody that they have been in a live-in dating although they have been simply flat pals, led to her father to undergo a center assault, married her with out in quest of her opinion, sneaked into her bed room, and finally this, gaslit her into believing she’s the petty one.

Regardless of all this, Anthikkad and publisher Sreenivasan reunites them, after Jyothi realises that her husband is a superb particular person (how did she realise it you ask? Oh, his mom died and… that’s it).

Rajasenan Cinematic Universe

Maximum of actor Jayaram’s blockbusters have been born on this cinematic universe. And Rajasenan was once, with out a 2nd idea, one of the vital cherished comedy-drama makers of the 90s, together with his motion pictures having superb theatrical runs.

On the other hand, maximum motion pictures from RCU practice the similar development – first, the ‘funny’ incidents taking place within the circle of relatives in focal point, adopted by means of a false impression between a couple of individuals, which within the due process time will blow up developing main tiffs amongst them, and in the end, a solution by means of an emotional speech by means of some of the central male characters within the climax.

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What connects a lot of these motion pictures additional is the way in which girls are portrayed in them.


A take a look at motion pictures like Meleparambil Anveedu (1993), Aniyan Bava Chetan Bava (1995), Aadyathe Kanmani (1995), Swapna Lokathe Balabhaskaran (1996), Sreekrishnapurathe Nakshathrathilakkam (1998), Kottaram Veettile Apputtan (1998) and Darling Darling (2000) will turn out as to how misogynistic maximum Rajasenan works are and the way the maker, by means of plugging within the perception that fallouts between members of the family will have to be resolved regardless of, normalised home abuse confronted by means of girls.

Whilst Meleparambil Anveedu revolves round a gullible Tamil lady (Shobhana) who’s pressured by means of her husband to paintings as a servant (actually) at his space since he’s scared to introduce her as his partner in entrance of others, Aniyan Bava Chetan Bava tells the tale of a person who woos two sisters on the identical time and make the most productive use in their emotions in opposition to him simply to verify the security of his task on the girls’s space.

Meleparambil Anveedu is going directly to grow to be extra problematic with all male individuals of the husband’s circle of relatives, without reference to their age, looking to courtroom the girl, whilst the husband brushes all of it below the rug as ‘humorous incidents’. If truth be told, those scenes from the film nonetheless evoke a just right snicker in maximum Malayali families, ‘thank you’ to the fantastic performances by means of past due Narendra Prasad, past due Meena Joseph, Jagathy Sreekumar, Vijayaraghavan, Janardanan and past due Paravoor Bharathan.

Then again, Aadyathe Kanmani has a ruthless lady (performed by means of past due KPAC Lalitha) who torments all her daughters-in-law for no longer with the ability to give delivery to a child boy. The tale isn’t just misogynistic but additionally crosses all varieties of strains by means of joking about feminine feticide fairly a couple of instances.

Whilst Swapna Lokathe Balabhaskaran has every other casanova who tasks his spouse as an evil particular person for throwing tantrums at him after coming to learn about his premarital affairs which he didn’t divulge to her even as soon as, Sreekrishnapurathe Nakshathrathilakkam banks at the age-old patriarchal narrative of “girls are naïve, mindless and grasping”. Once more, those are two different motion pictures that also evoke numerous laughter amongst Malayalis.

However, not one of the motion pictures discussed until now can fit the extent of misogyny contained within the subsequent one: Rajasenan’s Njangal Santhushtaranu (1998).

Apparently the film was once made simply to announce the makers’ hatred for daring girls. The flick reeks of misogyny and sexism from tip to toe. Moreover, the film refuses to empathise with the feminine persona till it’s printed that she is followed. It additional reasserts all of the male chauvinistic notions akin to “a lady’s lifestyles can also be regarded as whole if and provided that she is aware of her mom tongue and the right way to cook dinner, looks after her in-laws, wears sanskaari clothes, obeys her husband, and so forth”.

Apparently, this film too has a track (Aanalla pennalla adipoli vesham) that describes how a perfect lady will have to behave, written by means of the similar S Rameshan Nair.

The Multiverse and the affect it nonetheless has over Malayalam cinema

Even though it would appear unfair to imagine these kind of works as a homogenous entire, it might certainly be scrutinised in that means as they all, in just about the similar way, have capitalised on sexism. The makers additionally extenuated the similar by means of slipping the flicks in as those that speak in regards to the significance of “Parampara, Pratishtha and Anushasan.”

What makes it even worse is the truth that probably the most maximum gifted girls actors within the Malayalam business made a reputation for themselves by means of enjoying such characters written irresponsibly by means of the lads of that length. Since those have been the one more or less characters to be had for actors akin to Urvashi, Shobhana and Parvathy, all of them put their center and soul into it, making those roles undying and best possible. In some way, they too have been dwelling parallel (skilled) lives whilst being caught within the Multiverse.

Even though a lot of these motion pictures got here out ahead of 2008-09, the length all through which Malayalam cinema began witnessing a paradigm shift following the discharge of Anjali Menon’s Manjadikuru (2008; although the movie were given its theatre liberate most effective in 2012) and Shyamaprasad’s Ritu (2009), those motion pictures are nonetheless broadly regarded as healthy and aren’t incessantly known as out for propagating the problematic ‘supreme lady’ archetype.

Mr. Marumakan (2012)

A take a look at the circle of relatives dramas that got here out after 2008 will display us that even rookies are nonetheless depending on equivalent issues. If truth be told, although the younger audiences aren’t very considering such age-old problematic narratives, the circle of relatives drama target audience (on whom numerous filmmakers pin their hopes even now) nonetheless make a beeline for those motion pictures.

The acceptance that the flicks of actor Dileep (an accused in a sexual attack case) like Mayamohini (2012) and Mr. Marumakan (2012), Saji Surendran’s Glad Husbands (2010), Akku Akbar’s Veruthe Oru Bharya (2008), Jibu Jacob’s Munthirivallikal Thalirkkumbol (2017), and Nissam Basheer’s Kettyolaanu Ente Malakha (2019) gained certainly issues out that the affect the Multiverse exerted could be very a lot alive.

The Nice Indian Kitchen (2021)

On the other hand, it must be underlined that motion pictures like The Nice Indian Kitchen (2021) and Kumbalangi Nights (2019), which discover the intricacies of interpersonal relationships (amongst members of the family too), are like a breath of unpolluted air for Malayalam cinema.

It’s was hoping that no less than the brand new technology filmmakers wreck themselves unfastened from the multiverse of misogyny’s affect and create inclusive flicks that reject benevolent sexism.

(Photographs, courtesy of m3db.com)

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