Review Tales

The Malayalam cinema industry has experienced its fair share of ups and downs. In the 1980s and 1990s, it was producing peak cinema, but this golden period was followed by a decline into what many consider ‘cringe’ cinema in the late 1990s and 2000s. However, the industry revived itself in the early 2010s and continues to rule, delivering a strong first half this year.

While most people are familiar with the recent masterpieces of Malayalam cinema, this article focuses on the artistry of the pre-cringe era. Though there have always been two major stars, Mohanlal and Mammootty, who have carried Malayalam cinema on their shoulders, behind the camera were two auteurs who revolutionized the craft: Adoor Gopalakrishnan and Govindan Aravindan.

Adoor Gopalakrishnan: The Forgotten Master

Adoor Gopalakrishnan’s films influenced generations and he is regarded as one of the greatest filmmakers in Indian cinema. His collaborations with Mammootty are still considered acting masterclasses. Adoor was also the first Malayalam filmmaker to break into international festivals, earning praise for his mastery of the craft. His works from the 1970s and 1980s revolutionized Malayalam cinema, laying the foundation for what we see today. Adoor’s films often explore the society and culture of Kerala, delving into social and psychological themes.

Films to Check Out

Anantaram (1987)

“Anantaram” is a character study of Ajayan, a delusional man whose life is presented in two conflicting accounts, with details changing as he slowly approaches madness. This film is not your typical character piece; it leaves a lasting impact, making you question, “What did I just see? Does this even make sense?” Some people compare “Anantaram” to “Persona,” although I personally don’t see the similarity. However, if mentioning “Persona” entices viewers to check it out, then why not? Adoor once said, “Anantaram, at one level, is a film about storytelling or rather the very process of artistic creation,” which perfectly encapsulates its essence.

Elippathayam aka Rat’s Trap (1982)

“Elippathayam” critiques male patriarchy. The protagonist, Unni, is the last male heir of a decaying feudal family. He uses this status to feel superior to everyone around him, but this leaves him isolated and weak while the women in his life do all the work. Unni’s inability to adapt to modern society eventually leads to paranoia. The film metaphorically likens Unni to a rat trapped by society’s expectations.

Mathilukal (1990)

“Mathilukal” marked the first collaboration between Adoor and Mammootty as the main lead. The story is about a man who falls in love with a woman just by hearing her voice while both are imprisoned. This film is a “Before Trilogy”-esque conversational romance, despite the lovers never seeing each other. Mammootty’s portrayal of Basheer (the film is based on Vaikom Mohammad Basheer’s novel) was exceptional, convincing the audience of his character’s loneliness and yearning.

Vidheyan (1994)

“Vidheyan” is the second and final collaboration between Adoor and Mammootty as a lead actor. In this film, Mammootty plays a layered and ruthless villain, so convincingly that you forget his previous characters. “Vidheyan” deals with the servant Thommy’s moral ambiguity and loyalty. The plot explores whether Thommy will save his master, Bhaskara, or leave him to his fate.

Swayamvaram (1972)

“Swayamvaram,” Adoor’s debut film, is a heartfelt story that marked the beginning of his illustrious career. It can be described as “Alaipayuthey” 28 years before that film was even conceived. While the plots are different, the emotional core is similar. “Swayamvaram” portrays the struggles of a newlywed couple facing unemployment, and dealing with love and hardship.

Kodiyettam (1977)

“Kodiyettam,” Adoor’s second feature, tells the simple yet profound story of Sankaran Kutty, a man who does nothing and lives off his sister. After marriage, his wife pushes him to change, but he finds it difficult to break out of his old habits. The film explores Sankaran Kutty’s transformation, making it a heartfelt exploration of personal growth.

Govindan Aravindan: The Underappreciated Master

Govindan Aravindan was a pioneer of avant-garde cinema in India. He constantly experimented with his craft, creating films that pushed the boundaries of storytelling. Aravindan would take simple, one-line plots and transform them into engaging, thought-provoking films. Despite his brilliance, his name is still relatively unknown, and his filmography remains a treasure waiting to be fully appreciated. It wasn’t until Martin Scorsese highlighted “Kummatty” that many discovered this remarkable auteur.

Films to Check Out

Marattam (1988)

“Marattam” can be described as a dance drama that retells the story of Keechakavadham through Kathakali. This film is a unique cinematic experience that defies expectations, offering a three-act structure based on dance and music. It’s an otherworldly experience that has to be seen to be believed.

Kummatty (1979)

“Kummatty” is a surreal rural drama about a magical man named Kummatty who captivates a group of children in a village. It’s a pure folk tale reminiscent of bedtime stories told by grandmothers. Shaji Karun’s cinematography beautifully captures the essence of Malabar, and the film’s simplicity belies its deep emotional impact.

Chidambaram (1985)

“Chidambaram” is not your typical story of infidelity; it takes the concept further. This penultimate collaboration between Aravindan and Shaji Karun uses visuals so powerfully that the story could be understood without dialogue. The film’s handling of infidelity is unparalleled, setting it apart from other films on the subject.

Esthappan (1987)

“Esthappan” is a mysterious character study of a fisherman whose miraculous acts are recounted by other fishermen. But who is Esthappan? A saint or a madman? A Christ-like figure or a fool? The film leaves these questions unanswered, inviting viewers to engage deeply with the character’s ambiguity.

Thamp (1978)

“Thamp” is an example of Aravindan turning a simple idea into cinematic gold. The story begins with a circus arriving in a village and ends with the circus leaving. That’s it. Yet, in Aravindan’s hands, this minimalist plot becomes a captivating exploration of human nature.

Kanchana Sita (1977)

“Kanchana Sita” is Aravindan’s adaptation of the Uttarakanda from the Ramayana. The film takes a liberal perspective on the mythology, which might not be for everyone, but those willing to engage with it will find it rewarding.

Mohanlal, The Complete Actor

In a random film discussion, if the topic of acting comes up and someone mentions Mohanlal as the greatest actor from India or the world, don’t try to argue with the person. Don’t try to defend your favorite actor. Just surrender and agree with them because Mohanlal might indeed be the greatest actor in Indian or world cinema. You’ll only understand this when you discover his earlier works. While Lalettan may not be in his best form right now, it only takes a few films for him to return to his peak era. Hopefully, Malayalam writers will bring back the cinema that they grew up watching, inspired by his films.

Mohanlal’s Range

Here are a few of Mohanlal’s films that people outside Kerala may not have seen much, but they need to celebrate both these films and the actor himself:

Vanaprastham (1999)

Vanaprastham might just be Mohanlal’s career-best performance. Mohanlal as Kunhikuttan will break your heart into a million pieces, and you wouldn’t even recognize the Mohanlal you thought you knew all these years. With Mohanlal’s performance, Vanaprastham is also Shaji Karun’s best work as a filmmaker. All those years of working with Govindan Aravindan paid off big time. Shaji became a writer-director, and with all his cinematography experience, the way he stages each scene is heavenly. Vanaprastham even premiered at Cannes. It tells the story of Kunhikuttan, a Kathakali dancer who falls in love with an upper-caste girl, Subhadra (played by Suhasini), who falls in love with his character rather than him.

Nadodikattu (1987)

Nadodikattu is a light-hearted, Andaz Apna Apna-type film that was made before Andaz Apna Apna even existed. It’s a funny buddy comedy starring Mohanlal and Sreenivasan as Dasan and Vijayan, respectively. After losing their jobs, Dasan and Vijayan try to escape to Dubai but end up in Chennai. The film follows many funny twists and turns that put these two amazing characters in crazy situations, and their antics will make the audience roll on the floor laughing. Mohanlal has always had a comedian within him, but sadly, only a few films brought out that side of him. Making someone cry is easy, but making someone laugh is the toughest thing to do, and Mohanlal made everyone who watched this film laugh — something that’s nearly impossible to pull off.

Thoovanathumbikal (1987)

Thoovanathumbikal tells the story of Jayakrishnan, who falls in love with two women: Radha and Clara, putting him in the dilemma of choosing whom he should spend the rest of his life with. If you are tired of modern-day romances and all their fake, pretentious portrayals of love, Thoovanathumbikal is the film to watch. Mohanlal as Jayakrishnan is exceptionally charming, and he brings an innocence to the character that’s hard to miss.

Thanmathra (2005)

Thanmathra is a film about a family man with two kids who suddenly discovers that he has been diagnosed with Alzheimer’s, and it shows how his life changes after the diagnosis. I’ve seen Alzheimer’s used as a comedic gag in many movies, but this one is different. It shows the seriousness of the disease and how dangerous it can be. Once again, Mohanlal’s portrayal of Rameshan is one of his career-best performances. The emotions in this film are so intense that anyone who watches it will end up crying. If they don’t, they must have a heart of stone. Having seen only Thanmathra and Aadujeevitham, I can see how Blessy creates films that make you root for the main character so much that you are left in uncontrollable tears.

Excluding his popular films like Manichitratazhu and Kireedam (since most people are already familiar with those works), it’s worth noting that, unlike Mohanlal, Mammootty has been in peak form recently. Since this article focuses on the golden era of Malayalam cinema, I have not included Mammootty’s works.

The golden era of Malayalam cinema gave us many gems to learn from, and I hope this new age of Malayalam cinema will produce more masterpieces. Perhaps, decades later, someone like me will write about the mid-2010s, 2020s, and 2030s as the Renaissance of the golden era of Malayalam cinema.