Cinema

Malayalam cinema is a force to reckon with in the domain of Indian

cinema. Though our cinema industry caters to the population of a small
geographical area, it produces an average of 70 films a year and boasts of
internationally acclaimed directors, script writers, technicians as well as
actors of superior calibre.

Over the years, outstanding directors like Adoor Gopalakrishnan, G.

Aravindan, M. T. Vasudevan Nair and Shaji N. Karun won acclaim for
their films at various international film festivals, taking Malayalam
cinema to new heights. It has been among the frontrunners at the annual
national film awards for many decades now.

Though the industry had to overcome a few challenges in the beginning,

it has been a saga of success, right from the production of its first
film, Vigathakumaran. In its history, the story of Malayalam cinema’s rise
can be divided into four stages:
 The decades of teething troubles (1928 – 1950)
 The love affair between Malayalam literature and cinema (1950
– 1970)
 The age of a new sensibility (1970 – 1980)
 The golden age of Malayalam cinema (1980 – 1990)
 And the period of larger-than-life heroes (From 1990)

Decades of Teething Troubles (1928 – 1950)

Malayalam cinema came into being through the pioneering efforts of a
dentist, who hailed from the village of Agastheeshwaran in Kanyakumari
district. The dentist, J. C. Daniel, sold all that he owned and used up his
life savings to make Vigathakumaran, the first Malayalam film, which
was a silent movie. His audacious leap of faith was not met with either
encouragement or support from the artistic community or the general
public, and in one swoop, the fates reduced Daniel from a wealthy man
to a pauper. J. C. Daniel died in utter poverty.

In 1933, the second film, Marthandavarma, also a silent movie was made
by R. Sunderraj, a relative of Daniel. After a week of running to packed
audiences, the publishers of the novel on which the movie was based,
Kamalayalam Books, filed a case of copyright violation. Though he
argued the case valiantly, Sunderraj lost the battle with the publishers
and the movie had to be shelved.

Five years later, a group of young film enthusiasts of the Madras Malayali
Association got together and produced the first talkie, Balan, under the
banner of Salem Modern Theatres. Balan (1938), directed by S. Notani, a
Parsi, was a huge hit.

Following the success of its first talkie, Salem Modern Theatres went on
to produce many more movies. In these early years, the nascent industry
was populated by artistes and others who had their roots in theatre.
1940 saw the production of Jnaanaambika, followed by Prahlaada in
1941. However, post Prahlaada there was a lull for a long period. It was
through Prahlaada that Subrahmanyam, the luminary who later became
the pillar of the Malayalam movie industry, made his presence felt.

In 1948, the movie Nirmala, which introduced playback singing, was

produced. A year later, Kunjacko, one of the stalwarts of the industry
who went on to become a household name, and some of his friends, set
up the famous Udaya Studio in Alappuzha (formerly Alleppey). With this,
the number of films that were being produced saw a significant increase.
Romance Between Literature and Cinema (1950-1970)
With the setting up of Kunjacko’s Udaya Studio in Alleppey and
Subrahmanyam’s Maryland Studio at Nemom in Thiruvananthapuram,
the practice of producing a movie in a year changed. 1950 saw the
production of six films. Most of the films, however, took the safe route of
making movies themed on the cruel stepmother, the plot of Balan, the
first hit. Attempts were made to make Malayalam versions of successful
Tamil films and produce films based on the puranas (ancient Hindu texts
featuring stories of various gods). This period also saw a number of
directors and technicians moving from Tamil to the Malayalam film
industry. In 1951, the landmark movie Jeevithanouga was made.

Jeevithanouga, which featured actor Thikkurussi Sukumaran Nair as the

hero, was scripted by Muthukulam Raghavan Pillai, who wrote the story
for Balan and directed by K. Vembu. The long and heavy dialogues and
the intense, emotion-packed scenes struck a chord with the public and
made it a super-hit of its time. It was also the first super-hit that
provided a commercial platform for Malayalam cinema.

In the 50s, a fresh breath of life revitalized Malayalam literature and this
was reflected in Malayalam cinema as well. Many young and brilliant
writers collaborated with film makers and others in the movie industry.
Neelakuyil(1954) the first of a series of successful Malayalam movies with
stories and characters with an inalienable connect to the land, was
produced as a result of such a collaboration that was spearheaded by K.
T. Pareekutty, the helmsman of Chandrathaara Productions. The movie,
based on writer Uroob’s novel of the same name and jointly directed by
Ramu Kaaryaat and P. Bhaskaran, was the first movie based on realism,
in the history of Malayalam cinema. The film gave Malayalam cinema
recognition at the national level, when it became the first film to be
awarded the President’s Silver Medal.

With this, the trend of making movies based on literary works saw a
significant rise, as evidenced by the movies of this time such as
Paadaattha Painkili (1957), Randidangazhi (1958), Mudiyanaaya Puthran
(1961), Puthiya Aakaasam Puthiya Bhoomi (1963), Odayil Ninnu (1965)
and so on.

Parallel to this trend, there were also other kinds of movies being made
like the Newspaper Boy which, at the time of its release in 1955, received
no attention at all but was later pronounced and praised as Malayalam’s
first realistic movie.

At the beginning of the 50s, a group of young actors entered Malayalam

filmdom, paving the way for a new era. It was during this decade that the
evergreen heroes, Sathyan and Prem Naseer, arrived on the scene and
went on to acquire a permanent and special place in the hearts of
Keralites. By the end of the decade, there was a pantheon of talented
actors in the field who played a crucial role in the growth of the industry.
They included, apart from Sathyan and Naseer, the hugely popular
heroines Sheela and Sharada, as well as actors like Ummer, P. J. Antony,
Kottarakkara Sreedharan Nair, Adoor Bhasi and Bahadur. In 1961
Kandam Becha Kottu, the first Malayalam movie in colour, was released.

This period also saw the rise of stars behind the scenes. Some of the
luminaries who enriched the industry with their talents in areas like
script writing, music composing, playback singing and so on included the
Vayalar-Devarajan duo, Baburaj, K. Raghavan, M. T. Vasudevan Nair
(Murappennu, 1965), K. J. Jesudas (Kaalppaadukal, 1961), O. N. V.
Kurup (Kaalam Marunnu, 1955). Directors like P. Bhaskaran, Ramu
Kaaryaat and A. Vincent could offer movies of high standards to an eager
audience, while K. Sethumadhavan, Sasikumar, M. Krishnan Nair, P.
Subrahmaniam and Kuchacko became the pillars of commercial cinema.

Chemmeen, the landmark film that took the whole of South India by
storm, was released in 1965. The film, directed by Ramu Kaaryaat,
became the first South Indian film to receive the President’s Gold Award
and catapulted Malayalam cinema on to the international stage. For his
labour of love, Kaaryattu spared no efforts and brought together the best
minds and talents he could get. His team of superior technicians involved
French choreographer Marcus Bartley, and the best technicians, singers
and editors in the country. Soon after its successful release, Chemmeen
became a phenomenon in the country.

In 1969, the Government of Kerala instituted State awards for Malayalam

films. Kumarasambhavam became the first movie to win the best film of
the year. Vincent received the award for best direction for the movie Nadi,
while Sathyan and Sheela won the awards for best actor (Kaalppaadukal)
and actress (Kallichellamma) respectively.
The Era of New Sensitiveness

The second half of the 1960s was a period during which a group of
devoted youngsters were very active in the world of Malayalam cinema.
These young men had got the opportunity to see highly-acclaimed
international films, participate in international film festivals and study in
film institutes.

‘Chitralekha Film Society’, the first of its kind in Kerala, was established
in 1965 under the leadership of Adoor Gopalakrishnan. Soon, more film
societies were set up in different towns of Kerala as a venue for exhibiting
good movies and for facilitating enthusiastic discussions about movies. It
was in the background of this awakening that Malayalam cinema became
endowed with a novel sensitiveness in the 70s.

Though commercial cinema was making its triumphant march forward,

there was still a tremendous vacuum as far as the more discerning viewer
was concerned. Malayalam cinema had nothing to offer to satisfy his
needs. In the 1970s, the New Wave Cinema or Parallel Cinema made its
entry to fill this void. In 1972, the release of Adoor Gopalakrishnan’s
movie Swayamvaram took Malayalam movie goers by storm because it
was such a far cry from mainstream cinema.

Swayamvaram won four national awards. It got the awards for the best
film and best director at the 20th National Film Awards. Its heroine
Saarada won the best actress award, and cameraman Mankada Ravi
Varma won the best cinematographer award.

Likewise, noted littérateur M. T. Vasudevan Nair entered the world of

silver screen with his phenomenal talent for scriptwriting. His movie
Nirmalyam (Yesterday’s Offerings) won the national award for the best
movie and its lead actor P. J. Antony won the national best actor award,
the first by a Malayalee.

In 1977 Adoor released his second movie Kodiyettam (Flag Hoisting)

which too managed to grab international attention. Bharath Gopi won
the national best actor award for that movie.

Another moviemaker who rose to prominence during the 1970s was G.

Aravindan. His movies like Uttarayanam (Moving from South to North,
1974), Kanchana Sita (The Golden Sita, 1977), Thambu (The Circus Tent,
1978) and Esthappan of 1979 drew attention at the international level.

Aravindan’s movies were so different from mainstream cinema that they

turned upside down the notions people had held about movies.

1970s also saw the emergence of many other gifted artists like John
Abraham, P. N. Menon, K. G. George, K. P. Kumaran, P. A. Backer, and
Pavithran, and that of experts in film technology like cinematographers
Shaji N Karun, Mankada Ravi Varma and sound editor Devadas. In the
world of Malayalam film music also, it was in the 1970s that music
directors like P. B. Srinivas, M. S. Viswanathan, V. Dakshinamoorthy
and M. G. Radhakrishnan; singers like K. J. Yesudas, P. Susheela,
Jayachandran, S. Janaki, Madhuri; and lyricist Sreekumaran Thampi
could use their talents and find their right niches in the film industry.
Among actors, M. G. Soman got his first break in 1973 through the movie
Gayathri, and Sukumaran got his through the movie Nirmalyam
(Yesterday's Offerings).

Popular moviemakers Padmarajan and Bharathan, who later made

movies which blurred the dividing line between commercial cinema and
art cinema, entered the movie arena around this time. For veteran
directors Joshy, Hariharan, and I. V. Sasi also, the 1970s was the period
that ushered them in.
The Golden Age of Malayalam Cinema (1980 – 1990)

The fresh path opened for Malayalam cinema in the 1970s and the
strength imbued through the depth and excellence of the new genre of
movies, helped experienced artists like Adoor Gopalakrishnan, G.
Aravindan, M. T. Vasudevan Nair and K. G. George to continue with the
making of delicately nuanced movies through the 1980s. Along with
them, directors Bharathan and Padmarajan and cinematographer Shaji N
Karun who did the camera work for Aravindan’s movies, made the period
one of total fulfillment for moviegoers.

Padmarajan entered the movie world by writing scripts for Bharathan’s

movies Rathinirvedam (Sexual Disenchantment, 1978), Thakara (1980),
and Lorry (1981). Soon he himself became a consummate moviemaker
and went on to direct brilliant movies like Peruvazhiyambalam (Wayside
Inn, 1979), Kallan Pavithran (Pavithran the Thief, 1981), Oridathoru
Phayalvaan (A Wrestler Somewhere, 1981), Thoovanathumbikal
(Dragonflies in the Rain, 1987), Moonnam Pakkam (The Third Day, 1988)
and Innale (Yesterday, 1989). Together, Bharathan and Padmarajan
brought down the partition wall between art films and commercial films
by making movies that straddled both worlds.

The movies that were considered ‘blessed’ by the artistically-perfect touch

of Bharathan are Rathinirvedam (Sexual Disenchantment, 1978),
Thakara (1980), Chaamaram (Ceremonial Fan, 1980), Ormmakkayi (For
the Memory, 1982), Marmaram (Rustlings, 1982), Vaishali (1988) and
Oru Minnaminunginte Nurungu Vettam (Glimpse of a Firefly’s Light).
Other good movies released during the same period were K. G. George’s
Yavanika (Curtain, 1982), Aadaminte Variyellu (The Rib of Adam, 1983)
and Lekhayute Maranam Oru Flashback (Lekha’s Death, A Flashback,
1983); M. T. & Hariharan team’s Valarthu Mrigangal (Trained Animals,
1981), Panchagni (Five Fires, 1986), Nakha-kshathangal (Fingernail
Marks, 1986), Amrutham Gamaya (Lead to Immortality, 1987) and Oru
Vadakkan Veeragadha (A Northern Story of Valor, 1989); Adoor
Gopalakrishnan’s Eli-pathaayam (The Rat Trap - 1981), Mukhamukham
(Face to Face, 1984), Anantharam (Thereafter, 1987) and Mathilukal
(Walls, 1989); G. Aravindan’s Pokkuveyil (Twilight, 1982), Chidambaram
(1985) and Oridathu (Somewhere, 1986); Sibi Malayil & Lohithadas
team’s Thaniyavarthanam (Just Repetition, 1987) and Kireedom (Crown,
1989); John Abraham’s Amma Ariyan (For My Mother’s Information,
1986); Shaji N Karun’s Piravi (Birth, 1988); Sathyan Anthikkad’s T. P.
Balagopalan M.A. (1985) and Nadodikkattu (The Wandering Wind, 1987);
K. Madhu & S. N. Swamy team’s Oru CBI Diary Kurippu (A CBI Diary
Entry, 1987); and Sreenivasan’s Vadakkunokki Yantram (Mariner’s
Compass, 1989).

Outstanding directors like Fazil, Sathyan Anthikad, Sibi Malayil, Lenin

Rajendran, Priyadarshan, Kamal, Siddique Lal; excellent writers like T
Damodaran, Sreenivasan, John Paul and Lohitadas; musicians like
Raveendran, Johnson and Jerry Amarldev; singers like K S Chithra, G
Venugopal, M G Sreekumar; cinematographers like Venu, Sunny Joseph,
Jayanan Vincent, S Kumar and Vipin Mohan and sound editors like
Krishnan Unni and Hari Kumar all got their platforms in the 1980s to
express their skill.

Most of the ever-green heroes of the Malayalam screen made their entry
in the 1980s. They include Mammootty, Mohanlal, Suresh Gopi,
Thilakan, Shobana, Jayaram, and Urvashi. And there were others who
entered the filmdom in the 1970s and went on to create lasting
impressions like Jagathy Sreekumar, Bharath Gopi, Murali, Sukumaran,
Nedumudi Venu and K. P. A. C. Lalitha.
The Era of Action Heroes (1990 to present)

As long as they were active in the Malayalam tinsel world, Prem Nazir
and Sathyan had virtually no challengers. Nevertheless, in those days,
superstars were not the fulcrum on which Malayalam film industry
turned.

Since 1990 commercial cinema became completely dependent on

superstars. Both these stars are gifted actors as well, and most of the
time they are able to produce films that satisfy the eager audience.

The latest phenomenon in Malayalam cinema is that of creating films

with fresh faces in almost all aspects of film making, widely reckoned as
a new generation trend.

All the directors who have entered the Malayalam film world during its
golden era of the 1980s, except Padmarajan, are still making use of their
creative talents to the utmost. Popular moviemakers of the present era
are Shaji Kailas, Ranjith, Rosshan Andrrews, Blessy, Lal Jose, K. Madhu,
Anwar Rasheed, and Johny Antony.

Directors like Murali Nair and Priyanandanan had made movies that won
acclaim and attention of moviegoers. But they are not active of late after
their initial success.

Though the Malayalam film industry has become superstar-dependent,

lots of outstanding movies that won national acclaim were made during
this period. Notable among these were Adoor Gopalakrishnan’s
Kathapurushan (Man of the Story, 1995) and Nizhalkuthu (Shadow Kill,
2000), T. V. Chandran’s Ponthan Mada (1993), Ormakal Undayirikkanam
(There Should be Memories, 1995), Dany (2001), and Padam Onnu Oru
Vilapam (Lesson One: A Wail, 2003), Shaji N Karun’s Swaham (My Own,
1994) and Vanaprastham (Pilgrimage, 1999), Balachandra Menon’s
Samantharangal (Parallelism), Jayaraj’s Kaliyattam (The Play of God,
1992) and Shantham (Calm, 2001), Lenin Rajendran’s Daivathinte
Vikrithikal (The Ways of God, 1992), Blessy’s Thanmathra (Molecule,
2005), Priyadarshan’s Kilukkam (Jingle, 1991) and Kaala Paani (Black
Water, 1995), Fazil’s Manichitrathazhu (The Ornate Lock, 1993), and
Ranjith’s Kaiyoppu (Signature, 2007).

Malayalam movie world does not have a dearth of fresh talent. Young
directors like Satish Menon, who directed Bhavam (Emotions of Being,
2002), Rajiv Vijay Raghavan who directed Maargam (The Path, 2003) and
R. Sarath who directed Sayahnam (Twilight, 2000) and Sthithi (Plight,
2002) hold out a lot of promise for Malayalam cinema.
International Film Festival of Kerala

The International Film Festival of Kerala (IFFK) is a film festival held

annually in Thiruvananthapuram the capital city of Kerala. Started in
1996 and hosted by the Kerala State Chalachitra Academy on behalf of
Department of Cultural Affairs, Government of Kerala, this festival is held
in December every year. One of the leading film festivals in India, the
event premier several national and international films.

International Documentary and Short Film Festival of Kerala

International Documentary and Short Film Festival of Kerala (IDSFFK)

organized by the Kerala State Chalachitra Academy for the Department of
Cultural Affairs, Govt. of Kerala is an annual short films and
documentary festival held in Thiruvananthapuram.