1. കഥയ്ക്ക്‌ പിന്നില്‍.

2. പുരസ്ക്കാരം

3. വിളംബരം

Identify the Movie Posters.

4. ഡബ്ബിംഗ്

5. ബി ജി എം

ഈ ചിത്രങ്ങളുടെ പശ്ചാത്തല സംഗീതം നിര്‍വഹിച്ചതാര് ?

6. അപൂര്‍വ്വം ചിലര്‍

7. ഗാനം – ഗീതം

10.തിരശ്ശീലയ്ക്കു പിന്നില്‍

So, how well do you know Malayalam Cinema, my friend ?

Do write in !

Lalitha in Ponkathir (1953)

Lalitha and Ragini together in Malayalam movie !

On that thought we will get jiggy with Ponkathir (1953). Ponkathir was the second movie to come out of  Merryland Studios and they  needed this to reclaim everything that they lost via that burning wreck of a movie called Athmasakhi (1952), their debut production. KP Kottarakkara, who wrote the script also ensured he plugged in every single melodramatic overkill moment into it to make sure it chugged on at the box-office. He was dead-on. It was a weep-fest, the likes of which, Malayalam films had never witnessed till then.

We will deal with that later. We are here for the dances, aren’t we ? The credit titles show Ragini and Lalitha credited for the dances, choreographed by  Guru Gopinath.

Dances : Lalitha & Padmini | Choreography : Guru Gopinath

Ragini appears only for a song sequence with dear sister, and I guess that is more than enough for me There are also two dances by Bharathi Menon – supposedly very vampish, but looks equally graceful and wonderful as the ones by Lalitha. In the movie, Lalitha plays the clinically-teary-eyed beloved, while Bharati Menon played the ‘evil’ seductress, on a mission to snare the wimpy ‘hero’ and dunk him in the honeypot. Almost all the dance songs seems to have been borrowed from the existing Hindi ‘super-hits’ of the times, to me, save for the densely patriotic Povuka Naam, Povuka Naam, filmed on Ragini and Lalitha. The reason being the structure seems so contrived and welded together. Hey, I may be wrong, but this is just intuition talking.

Prem Nazir with his signature "മണ്ടി പെണ്ണെ !" pose.

Nagging doubt : Does  മണ്ടി പെണ്ണെ! = Silly Lass ?

Aanandavaasam Amaravilasam.

This is the opening song of the movie, and to borrow a phrase from Stephen King, looks like a dance sequence that “has no earthly business” in the teary-weepy-melodrama that is about to follow.

Lyrics : Thirunayinaarkurichi Madhavan Nair
Music : Br Lakshman
Singer : N Lalitha & Chorus

The song sequence seems to have been forcibly planted on to the southern landscape from its Hindi original from Baiju Bawra (1952), along with the alteration to the attire and of course the water-pot styles. Wonder how disorienting’ it would be to have the entire village belles going to the nearest  river to fetch water in  choreographed moves, with the same patriotic song on their lips . The composition is a song of praise of their homeland, Kerala and the way it has nourished and sustained them with her over-abundant natural resources. The group singing flawlessly moves on to the indigenous Thiruvathirakkali at 1:08, making it forever a Malayalam dance composition While the original is the usual ‘General-Tease-by-Friends-who-are-great-dancers’ song, there is absolutely nothing of that sort in the Malayalam version. This is pure patriotism, Sir.

Here is the original Door Koi Gaye from Baiju Bawra (1952).
Singers : Shamshad Begum, Lata Mangeshkar & Mohd Rafi.

Sukhame Sukhame Swarga Sukhame.

Lyrics : Thirunayinaarkurichi Madhavan Nair
Music : Br Lakshman
Singers : Kaviyoor Revamma & Lalitha

Featuring a very young, lithe and graceful ( undoubtedly) TR Omana, it is a duet in parts and a solo recital in parts. Its the latter that  makes it all the more interesting. TR Omana, is another actress who got herself relegated to one of the most popular ‘Screen Matriarch” in Malayalam films. She is an accomplished classical dancer and Kathakali artiste, and in her heydays was more popular as a dancer than a movie artiste. TR Omana‘s lead as Poothana in Poothanamoksham was a highly sought afer act in her popular days as a dancer. The expertise and the ease shines through as she expresses happiness through her little routine, glad for the fact that the two main people in her lives are at last together, and the home is filled with joy.

Kaliyaadumpoove Varu Kaananathil.

[ Leading Lady in Love ‘Domestic’ Dance  - 1 ]
Lyrics : Thirunayinaarkurichi Madhavan Nair
Music : Br Lakshman
Singers : Jikky

Definitely from Hindi. I have sirens flashing inside, but the database is still searching ( Anu has send across a very convincing source ! ) . But nothing matters as long its Lalitha on screen. ( Sigh). While on Lalitha, do you know that  ‘Lalitha  danseuse’  one of those phrases that you throw at Google images that makes it throw up its hands in despair and give you a saddening look. We need to change that, don’t we ?

Till a note-for-note source comes in, Mujhe kisise pyar ho gaya from Barsaat stands as the best ‘inspiration’. Thanks Anu !

Paadoo Maanasame.

[ Leading Lady in Love ‘Domestic’ Dance  - 2 ]
Lyrics : Thirunayinaarkurichi Madhavan Nair
Music : Br Lakshman
Singers : Jikky

The leading lady in love just can’t seem to keep her happiness reined post her meeting  with her beloved. Another take on the “Sing, my hear Sing” theme, this takes it literally, going by the starting of the lyrics. Its a pity that we got to see Lalitha in so very few movies.Just like her dances, she was a natural when it came to acting too.

The Inspiration – Lataji’s classic Laage Jabse Nain Laage from Daag (1952) !

Povuka Naam Povuka Naam

Lyrics : Thirunayinaarkurichi Madhavan Nair
Music : Br Lakshman
Singers : Gokulapalan & P Leela

My favorite amongst all, just for the fact that it features Lalitha and Ragini, and its over 7 minutes of choreography. Though dated, I feel its still relevant way of expressing one’s undiluted love for his/her motherland. The whole composition is a bundle of cliche’s, but I don’t think  I can recall something similar from 50 years ago that has withstood the test of time. Patriotism is a relative term, these days.  So over-rated that you have almost started questioning it . Well, in my case, surely.

I am curious as to whether anyone has picked up on the song  for the young ‘uns for their innumerable school cultural shows ? It would be wonderful, am sure. Just the right mix of rhythm and respect. Don’t forget to send in a video link of the adaptaion to OMC if you ever think of recreating it for the school cultural show. Would love to see that

The song which exhorts the community to join in and fight ‘Inequality and Social Justice’ ( the song goes “Onwards lets march, onwards” ) has Ragini in her only appearance in the movie, is the ‘Male’, while Lalitha plays the leader of the agitators.The rich male questions their objectives and vision and their methods to reach their goal – whether it would be violent or the path of peace ?  Lalitha‘s path is clear – its Ahimsa. The Bourgeois also has his bit to add – dignity of labor and the will to work. Put together, this would beget Utopia. If only !

Nagging doubt : Remember seeing Ragini in a lot of ‘male roles in dances. Even in the famed Gitopedasam sequence in Umminithanka, she sports  the reedy moustache, and is Arjun. The examples in Tamil are many. She looked a wee bit masculine in structure, didn’t she ? Or is it just me ?

Aanandaroopan Aarivanaaro

Lyrics : Thirunayinaarkurichi Madhavan Nair
Music : Br Lakshman
Singers : Jikky

Enter the vamp, the grand seductress – Bharathi Menon, to entice the leading man, get him wrapped around her finger. Bharathi Menon seems to be another actress whose details are still hard to come by, specially in Malayalam films. I have heard that she played an active part in the Tamil films of the 50′s – any details welcome.

Do write in .

Previous : Jeevitha Nouka (1951)                 Next :  Neelakkuyil (1954)

This post is addressed chiefly to മുഹമ്മദ് അഞ്ഞൂറാന്‍, Regi, Sethumadhavan, E Pradeep, Viju and Anu Warrier, also of course to the ones who read through and passed on about the post on Salim Kumar conferred the Prem Nazir Foundation Award ( ! )

In my haste to put it down here, I seemed to have missed a crucial term in the entire news report, which I should say, was a tad deceiving as well.

What Salim Kumar has been conferred is the “Prem Nazir Award“ and NOT the Prem Nazir Foundation Award !

The engaging discussion we had on the aspect of the young actor being conferred the award so early, now seems entirely out of place, leaving yours truly fairly embarrassed. The Prem Nazir Foundation Award for the year (2011 ) goes to Hariharan, the legendary director – which in itself is a case study in confusion, which I will duly explain. Confusion, for the fact that Hariharan was announced as the winner of the Foundation Award in December 2010 !

From what I could gather from  Sri Thalekkunnil Basheer, the Chairman of the Prem Nazir Foundation is this : Apparently, the number of film awards constituted in the name of Prem Nazir are innumerable, and keeping track of all of them is a task next to impossible. The Prem Nazir Award conferred on Salim Kumar, is by the Chirayinkeezhu Powravali, while the Prem Nazir Foundation Award is by the foundation headed by him.

Regarding the Prem Nazir Foundation Award for 2011 being awarded to Hariharan, whose name was also announced for the year 2010 goes like this :  Though Hariharan was chosen by the jury for the Prem Nazir Foundation Award in 2010 and his name announced, the award ceremony never took place due to unavoidable circumstances. Hence, the Foundation has chosen to give the 2011 Prem Nazir Foundation Award to Hariharan himself, thereby validating  their announcement from 2010 !

The old post on Salim Kumar has since been taken down from Old Malayalam Cinema.

Once again, my apologies for my undue haste and the misinterpretation of the news item. My sincere apologies mainly to മുഹമ്മദ് അഞ്ഞൂറാന്‍, Regi, Sethumadhavan, E Pradeep, Viju and Anu Warrier.

Thanks,

Cinematters

Pix credit : Amrita TV

Malayala Manorama reports that Bombay S Kamal, the musician from Mumbai who came to Kerala in the late 50′s, got associated with MS Baburaj, who personally made him familiar with the intricacies of music composing for films and theater productions and has composed music for 33 songs for films, innumerable ghazals and theater productions in Malayalam has been chosen for the first Swarlalayam-Eenam Guruvandanam award. The award, constituted by Eenam International, a cultural organisation of non-resident Keralites and Kerala-based ‘Swaralaya ’ to aid veteran artistes carries a citation and an award amount of Rs. 25,000.

Bombay S Kamal in conversation, from Amrita TV’s ‘Innalathe Tharam‘.

Part 1

Part 2

Part 3

The report from Malayala Manorama.

Related : 03 October 2010 |Swaralaya-Eenam award for Yesudas, Chitra, MG Radhakrishnan and Raveendran

He was not all  …………….. ( insert Sheela/Sharada/Jayabharathy as you please) + a lone tree + a great romantic song composition, you know, they just didn’t have the inclination nor the daring to use him for onscreen adventures that he had so proved adept at, given the chance and the opportunity. He was best when he was not always the perfect male onscreen. I am sure the surprise that evoked in us, the avid viewers also helped to make these adventures indelible in our memories, more than his cheesy, strait-jacketed romantic expeditions that replicated itself, over and over again, movie after movie.

The following are the ones, for me,  that Prem Nazir did a fantastic job of reveling in the grey zone, and interestingly it bordered on broadly two sectors . It was either the quiet, malevolent, lustful badass coveting another one’s wife, from his immediate circle or the wimpy, weepy, indecisive soul bent by social obligations and who implodes by the end of the proceedings. Please note that these are the ones that stresses on moral ambiguity than the ones found across the fair and straight road to domestic nirvana that he traverses in the rest, and please do write in with the ones that you think are your favorites.

Kuttikkuppaayam (1964)

The legendary producer TE Vasudevan reveals in an interview that Prem Nazir had offered to do this movie for free as his previous movie with Associated Pictures, Sathyabhama (1963) turned out to be a ‘mythological nightmare’ financially. Kuttikuppayam was made with a paltry budget of Rs 98,000, but this time it ruled the box-office. Though Prem Nazir had played shades of the wimpy, malleable and ‘impressionable’ hero ( remember Ponkathir [1953] ? ), Kuttikuppaayam was what brought it on, all cylinders firing.  Based on a story by Moithu Padiyath, Kuttikuppayam explored the ‘one-sided’ stigma attached to infertility ( it was ALWAYS the woman’s fault ) and the manipulation of the institution of marriage  against the backdrop of the traditional Muslim society.

Prem Nazir is Jabbar, a successful coconut trader, happily married, childless and dotes on his wife, despite the occasional taunts by his mother ( Philomena in one of her most memorable roles ). Her manipulations and emotional blackmail ends up getting … separated from his wife and getting remarried again to his mother’s niece that is soon headed towards Horrorville. His separated dear wife ( Ambica in a drenched-in-tears role ) gets married to an unsuspecting  Madhu  and soon becomes pregnant. Prem Nazir, devastated on getting to know this from a family friend,  gathers courage to have himself medically examined and confirms his worst fears. It had always been him. But, back home, the family is overjoyed. The new bride is pregnant ! Right from the point where his mother introduces the possibility of a mutually agreed separation, we see Jabbar bend far over backwards, trying to appease everyone, specially his mother, as he gets slowly eaten away inside and the twist of fate in the end makes him almost lose his sanity and his bearings. His onscreen journey was a refreshing change from the staple ‘romances’ till then. I think Prem Nazir had an extraordinary ability to portray hearts in the doldrums, more than his perfect lip-synchs, hip-squeezes and generally looking dashingly handsome. There is a part in the movie where he almost loses his emotional bearings towards the end of the movie where he addresses his now-repentant mother, wife and himself – all at one go. That man was a sheer pleasure to watch.

The classic “Innente karaliley” from Kuttikkuppayam (1964).

Ashwamedham ( 1967)

The spine-less weepy, wimp resurfaces again in a role, adapted for the screen from KPAC’s popular theater production. Prem Nazir‘s Mohan, the smitten-lover who even decides to go ahead with his wedding to his beloved against his parents’ wishes ( they cave-in at the last moment ), powered by mutual affection and attraction so strong that it even gave us one of the ‘finest songs of anticipation’ in Malayalam cinema – the eternal “Ezhu sundara rathrikal” . The lover boy  does an amazing back-flip when he comes to know that his soon-to-be bride has contracted leprosy and puts the wedding on hold, but still refuses to be convinced when his dear friend assures him that the malady has been banished and she is normal and healthy. His moot question, “Err..ദാക്ടെര്‍,  നിങ്ങള്‍ പറയുന്നത് ശരിയായിരിക്കാം, പക്ഷെ err..എനിക്ക് വിശ്വാസം വരുന്നില്ല.” ( in typical Prem Nazirspeak ) has to be one of the classic lines in Malayalam movies ever, for turning tail and slinking away. Though the onscreen adaptation turned out to be a watered-down and mostly plastic rendering of a hugely successful theater production, Prem Nazir‘s Mohan still managed to salvage some semblance of dignity of the role from the original. And a memorable wimpy one, nevertheless.

One of the ‘finest songs of anticipation’ in Malayalam cinema, courtesy Ashwamedham.

Kalli Chellamma (1969)

Kunjachen from Kalli Chellamma proved male chauvinism and cowardice could beautifully co-exist, if given a suitable nourishing environment like country toddy. Prem Nazir was Kunjachen, the motor-pump operator contracted by the village agricultural co-op to drain out the flooded paddies. It doesn’t take long for this handsome and  dashing  young man to smile and flirt his way into the loner Kalli Chellamma’s heart, and soon her bed. He leaves the village after the job is over ( no pun intended) and is conspicuously absent for over an year after which he re-appears, showing us the peek into the real slippery personality of the man. Kalli Chellamma sticks through his arrogance, plain stupidity  and haughtiness to the extent of helping him escape after a drunken brawl that almost ends up in murder, to even leaving her home and trying to build a life together with her wayward, chauvinist ‘husband’. But events take an interesting turn with the appearance of a young lady with two children, in tatters and a-begging, searching for her husband, and the kids, their father. Kalli Chellamma‘s life is just about to take a careening, skidding step sideways into the abyss, all thanks to a career alcoholic, dashing handy man called Kunjachen.

I couldnot think of any other actor who could depict the “love-to-hate” personality of Kunjachan other than Prem Nazir. he gradual revelation of the real personality of the character across the movie was a treat to watch – specially the evolution of the lover boy-turned-drunkard-turned blabbering coward-turned-infuriatingly arrogant chauvinist , Prem Nazir excelled as Kunjachan. P Bhaskaran, I guess should be  credited with giving Prem Nazir two of his career best roles ( according to me ) – Velayudhan in Iruttinte Aathmaavu (1967) being the other. After lulling you into a sense of false security with some memorable compositions set to music by Raghavan Master, P Bhaskaran just yanks the carpet off your feet.
Maanathey kaayalin from Kalli Chellamma.

Vivahitha (1970)

Rajendran, the painter/ singer refuses to let go. He is in his elements, comfortably wallowing in his own misery, carrying the proverbial millstone round the neck of a past love-affair, even after the love of his life becomes the wife of another man. The Malayalam remake of the Sunil Dutt – Ashok Kumar – Mala Sinha starrer Gumrah (1963), Prem Nazir played the part  done by Sunil Dutt in the original. He follows his love Meena (Ragini Padmini..thanks Viju ) to Chennai, who is now married to one of the leading barristers of the city, Barrister Ashok (Sathyan) and continues to meet her, not exactly knowing where to take it from there. he is mortified at the thought of having his love out of his sight and that is all that he cares for. The lackey whom we see pining onscreen  with “Sumangali, nee ormikkumo “, is the happy hound reveling and pleasurably lost in the new found warmth of his  secret rendezvous with his now -someone-else’s wife beloved, happily musing on “Mayaajaalka vaathil thurakkum“  after he stalks her down. Ah, the weasel’s nerve !

Here is the part-delirious, part-pining stalker on the Piano.

Listen to the one that comes in the Hindi original here.

Anubhavangal, Paalichakal (1971)

One of the enduring classics of Malayalam cinema, from the Manjilas‘ stable. Based on Thakazhi Sivasankara Pillai‘s novel of the same name, the powerful screenplay was written by Thoppil Bhasi – that man was sheer genius, someone who somehow knew exactly the sensibilities of writing for the screen and for the stage.  [ Trivia : Thoppil Bhasi holds the credit of writing the screenplays for the maximum number of Thakazhi's works adapted for the big screen ]. Prem Nazir as Gopalan, was back in “Covet-thy-neighbor’s-wife” territory, this time being his dear friend Chellappan‘s (Sathyan in one of his best roles ) comely, brash and buxom wife Bhavani ( Sheela, who else ? ), The way they address each other as ‘Aliyaaa!‘ is endearing, coming from both of them especially, if you remember the opening scene at the toddy shop.  Both the characters are male chauvinists in their own levels, not scared to stray, the degree of suspicion runs only a shade deeper in Chellappan’s case.

Prem Nazir is a widower, and makes no effort in masking his ‘desire’ to possess Bhavani, even at the risk of inviting the hellish fury of his dear friend, whom, deep down, he knows to be a prisoner of his own devices – his political ideals forming the heaviest balls and chain. In one of the early scenes where both flirt and keep pinging on each other, Chellappan is absolutely clear in what he desires, when he tells her, “എന്‍റെ ഭാര്യ നല്ലവളായിരുന്നു.പക്ഷേ മരിച്ചുപോയി.” Bhavani’s response is also equally encouraging, as she bursts into forced laughter, as to somehow hide those very words that just slipped out, “എന്‍റെ ഭര്‍ത്താവു ഒരു കൊള്ളരുതാത്തവനാണ്. പക്ഷെ ജീവിച്ചിരിക്കുന്നു.” It essentially becomes the building block for their ‘new life together.’ Gopalan, even though is all testosterone and wiggling his plumage  in order to possess Bhavani,  is also equally scared out his wits at the ruthless, terminal and severe reactions it would evoke in his dear friend, who is now gone underground fearing a police crackdown. But the demands of the flesh inevitably wins over fidelity. It’s a bag of mixed emotions that all the three carry in their hearts, there are no black and white zones, its all grey, just like in real life. Gopalan doesn’t even think twice, though, now  husband to his best friend’s wife, to pledge all their possessions together to accord his friend the dignity he deserves in the final scenes of the film. The interactions between them, especially Sathyan, who speaks volumes with a gaze, at two instances that seem so crucial – at the jail and after the sentence is passed out. is heart-rending. Come to think of it, this should also be up there in one of Sheela‘s best performances.

The agonising “Agniparvatham Pukanju” from the movie.

Punarjanmam (1972)

In the beginning of all psycho-medical thrillers was Punarjanmam. Yes, Manichitrathazhu (1993) wasn’t a unique, watershed moment as far as the genre is concerned. Rather than cloaking it in pop iconography, KS Sethumadhavan, with a gripping screenplay by Thoppil Bhasi,  put it right out there as a case study from acclaimed hypnotherapist and applied psychologist, Dr AT Kovoor’s case diary, in 1972. It even had the good doctor appearing in the beginning of the movie onscreen, explaining as to what the movie was all about, who did  a cameo as the therapist that sets matters right – a first in Malayalam cinema, I think.

Prem Nazir played Aravindan, the dashing ( can he be anything else? ) college lecturer, who falls in love with his student and marries her. Problems arise after the marriage as he clings on to her like a child, never getting around to consummate their marriage but is found in bed with the maid of their house. His entire life revolves around his wife Radha ( Jayabharathy) , resembling more of an obsessive-compulsive disorder – the man is absolutely fixated on her. Yet, the bedroom resembles a walk-in freezer.  Aravindan also refuses to discuss the demons that are plaguing hem, choosing to weep, moan and go a-begging to Radha ( who has by now has enough and walks out of the house ), again pitching his undying love for her to bring her back. Watching Prem Nazir as Aravindan, am amazed at the limits this actor must have travelled, with an encouraging nudge from directors with daring such as KSS. He is absolutely amazing as he plays probably The ‘Clingiest’ Husband onscreen in Malayalam movie history

Another gem from Devarajan Master, “Prema Bikshuki”.

Azhakulla Celina (1973)

Kunjachan, the filthy-rich owner of the plantation, is under his smiling visage, the perfect beast. Suave on the surface and savage within, Prem Nazir‘s characterisation of this wild beast is right up there amongst my favorite trinity of his’ in Dark Grey. Directed by KS Sethumadhavan, based on a story by Muttathu Varkey, adapted for the screen by Thoppil Bhasi, the music director was KJ Yesudas himself. Kunjachan is a chronic flirt and a womanizer ( he can afford it ), accommodated to a large extent by his beautiful wife Lucy (Kanchana), who regardless, loves him unconditionally, even is in awe of her ‘super husband.’ Kunjachan, the ever-smiling, generous, helpful gentleman, wastes no time in offering his support and assistance to the young Johnny ( a tepid Vincent ), his clerk who had eloped with his childhood sweetheart on the eve of her wedding and seeks refuge at the plantation.

You can almost see The Beast Inside licking his lips in the eyes of Kunjachan as he first lays his eyes on the exceptionally beautiful young bride Celina ( Jaya Bharathy), vulnerable beautiful and umm..glowing like a bride. Kunjachen doesn’t have to work that hard to earn the complete, unquestionable, inherent trust of the vulnerable couple and from here own, the classic game of the cat-playing-with-the mouse begins, though the mouse is hardly aware that there is a game afoot. Hell, the mouse doesn’t even know that it is certified prey. Kunjachan bides his time, falling over himself to have them married off at his own expense at the church in the nearby town, put them up at the place’s best hotel for the night, and then ‘planned tragedy’ strikes. The groom is bundled away by the local police on unspecified charges and the benevolent patron, grinds his teeth and feigns helplessness when the hapless bride rushes to him for help. The groom is in the jail for the night, the disoriented bride-to-be and Kunjachan are in adjacent rooms and he has his favorite blend open on the table, nursing his next drink. The stage is set.

Prem Nazir was perfect as the suave beast, and I always wish he had gotten more of them. He would reprise the role in Bharathan‘s Parvathy (1981), but the young,raging libido had been then replaced with a far more aged, mature(?) and more sinister constitution.

I always break into a smile watching PN giving the good ol’ jive an earnest and good-natured shot. KJ Yesudas gets the bass runs for the boogie  right down pat.

Darling, Darling from Azhakulla Celina (1973)

Parvathy ( 1981)

Urumees from Parvathy somehow seems to be Kunjachen, matured in a fine oak cask, acquiring depth and complexity across a decade  or you could call him Ol’ Randy . That is, if you are comfortable in  keeping  aside the usual connotations that one would associate with a Bharathan movie that discusses eroticism on his own terms (with the commercial ingredients needed, thank you very much ). Parvathy was the onscreen adaptation of Kaakkanadan‘s Adiyaravu, one amongst the two creations of his Bharathan adapted for the screen, the other being the gag-worthy Parankimala. Even if you look at it as a B-grade just-above-average skin flick ( and I wouldn’t blame you ), it was still a win for Prem Nazir as far as the character he played – this was the 80′s, and he had all the time to now explore options at his will. Urumees was the local money bag businessman who requests the assistance of  Parvathy Thamburatty ( Latha – an uncanny(!) resemblance to Surekha ) to  home-tutor his little girls in music and dance.

To Parvathy and the dilapidated, rambling old aristocratic manor that she is a part of ( she has two elder sisters ), this is a godsend, financially. It doesn’t take long for the employer-employee to cross lines that should never have been crossed, which drives the lady of the house to attempt suicide ( KPAC Lalitha), post which a repentant Urumees tries to recoup what is lost, but leaves a window open hoping that they would meet again.  Watch the movie only for Prem Nazir.  That should be more than enough. The rest is a train wreck.  [ Trivia : Parvathy was the debut film of Raj Kumar, and I've read somewhere that Latha was the enigmatic lady in  Jayan's life ( more details please ! ) ]

The Nanny goes about her business. Please try not to stare !

Which are yours ? Do write in.

Next : Prem Nazir in Padayottam | A Sketch in Vengeful Grey.

1937 - 30 December 1976

Today marks the 35th year of passing of Ragini, a unique combination of grace, chutzpah and sensuous style that graced the Indian screen. (Thanks to Manu for the reminder).

Ragini, of the legendary Travancore Sisters trio, didn’t have much to do as a dancer in Malayalam cinema till our producers suddenly woke up and smelt the coffee. By the time they devised storylines with which the Travancore Sisters’ immense popularity could be translated into box-office money, it was a bit too late. And, they were so hugely committed to their Tamil and Hindi projects that Malayalam just got into the queue a bit too late. And of course, with our two left-feet approach to dance onscreen in Malayalam cinema, to try grabbing a share of the fame from ‘one of our own’ who were now the toast of the Nation was a bit too painful and arduous task  for our production houses, if you get my drift. . Her performances and roles would need a more exhaustive approach, but for now, I just thought of putting together the ones that came in. without an effort to hunt them down.

Hope you enjoy these 10 memorable ‘performances’ from her early years, also left me wondering as to how it would have been, if he had productions with Ragini in Malayalam that would have sent Kalpana (1960), Shikari (1963), Naag Rani (1963), Veerapandiya Kattabomman (1959 ) slinking away into the shadows, paled by the grandeur and sheer merriment. If only.

Ragini’s first film in Malayalam was Prasanna (1950), which also had the company of dear sister Padmini – sadly, a legal copy of the film is hard to come by, yet, in the commercial domain. Nair Pidicha Pulival (1958) almost took a decade in coming but hey, I’m not complaining.

Nair Pidicha Pulival (1958)

Song : Velutha Penne Velutha Penne.
The song title is in itself downright corny and racist , addressing your beloved as “Oh, Fair-skinned One” is a bit over-the-top for me. And, with all due respect, Sathyan and romantic movie interludes were mutually exclusive. Satyan full-on ? Romanticism gayab !

Unniyaarcha (1961)

Song : Aaru neeyen Maarivilley ?
One of my all-time favorite of hers. I have written in detail about her role and the movie here.

Another fabulous one from the movie.
Annu Ninne kandathil Pinney..

Umminithanka (1961)

Song : Geethopadesham.
Ragini and Ambika in one of the historic dance sequences. Will leave to tell more on that for another day, but hardly anyone seem to have made full use of Ambika’s dancing prowess in her movies. She was an accomplished classical dancer who hardly got to display her consummate skill onscreen.

Viyarppinte Vila (1961)

Song : Kochukuruvi vaa Vaa

Bharya (1962)

Song : Periyarey..

Palaattu Koman (1962)

Song : Chandanapallakkil
Everytime I see Sathyan in that headgear, I crack up. It looks to me as if Sathyan has somehow ended up donning one of the female artiste’s costumes by mistake, and is trying his level best to hide it up with his overtly romantic gestures .

Puthiya Aakaasham Puthiya Bhoomi (1962)

Song : Thamarathumbi Vaa vaa
A reprise of the Periyarey picturisation.

Atom Bomb (1964)

Song : Naanikkunnilley.

Poombaatta (1971)

Song : Shibiyennu peraya.
Ragini with baby Sridevi. Precious !
More on the movie here.

Do write in with your favorites.

X’mas wishes everyone.

May Peace and Tolerance light your way onward.

Here is something that best expresses the Season for me.

Movie : Anveshichu, Kandethiyilla (1967)
Lyrics : P Bhaskaran
Music : MS Baburaj
Sung by : S Janaki and B Vasantha

And here is a version that is equally close to my heart – Nimisha Salim, grand Daughter of M.S.Baburaj‘s live version.

Pix Credit : MSI

1980 ഡിസംബര്‍ 25.

ജയന്റെ മരണം നടന്നിട്ട് ഒരു മാസം കഴിഞ്ഞു. ആ ഷോക്കില്‍ നിന്നും ആരാധകര്‍ കരകയറിയില്ല. അവര്‍ ജയന്റെ അല്ലാതെ ഒരു സിനിമയും കാണില്ല എന്ന വാശിയില്‍ ആണ്. ജയന്‍ അഭിനയിച്ച ചിത്രങ്ങള്‍ തകര്‍ത്തു വാരുന്നു. അതിനിടയില്‍ ഒരു ചിത്രം തീയറ്ററുകളില്‍ എത്തി. മഞ്ഞില്‍ വിരിഞ്ഞ പൂക്കള്‍ !

മാളിയപുറക്കല്‍ ചാക്കോ പുന്നൂസ് എന്ന നവോദയ അപ്പച്ചന്‍ നിര്‍മിച്ച ഈ ചിത്രം ശരിക്കും ഒരു വലിയ വെല്ലു വിളി ആയിരുന്നു. പുതിയ നായകന്‍, പുതിയ വില്ലന്‍, പുതിയ നായികാ, പുതിയ സംഗീത സംവിധായകന്‍, എന്ന് മാത്രമല്ല പുതിയ ഒരു സംവിധായകന്‍ കൂടി രംഗത്ത് വന്നു. ഫാസില്‍ സംവിധാനം ചെയ്ത ഈ ചിത്രത്തിലെ നായകന്‍ ശങ്കര്‍ ആയിരുന്നു. അതിനു മുന്‍പ് ശങ്കര്‍ ഒരു തമിഴ് സിനിമയില്‍ അഭിനയിച്ചു – ടി രാജേന്ദ്രന്‍ (അതെ, ചിമ്പുവിന്റെ അച്ഛന്‍) എന്ന തമിഴിലെ സംവിധായകന്റെ ആദ്യ ചിത്രം ആയ ഒരു തലൈ രാഗം ആയിരുന്നു അത് ! നായിക പൂര്‍ണിമ ജയറാം അതിനു മുന്‍പ് ചെറിയാച്ചന്റെ ക്രൂര്യകൃത്യങ്ങള്‍ എന്ന ചിത്രത്തില്‍ തല കാണിച്ചിരുന്നു. വില്ലന്‍ ആവട്ടെ തിരനോട്ടം എന്ന സിനിമയില്‍ അഭിനയത്തിന് ഹരിശ്രീ കുറിച്ച മോഹന്‍ലാലും. കൊടൈകനാലില്‍ ജോലിക്ക് വരുന്ന പ്രേം കൃഷ്ണന്‍ അവിടെ ഉള്ള പ്രഭയും ആയി പ്രണയത്തില്‍ ആകുന്നു . എന്നാല്‍ പിന്നീടാണ്‌ പ്രേം മനസ്സിലാക്കുന്നത്‌ പ്രഭ വിവാഹിത ആണെന്നും ഭര്‍ത്താവു നരേന്ദ്രന്‍ എന്ന വില്ലന്‍ ആണെന്നും . കഥയുടെ അവസാനം നരേന്ദ്രന്‍ പ്രഭയെ കൊല്ലുന്നു പ്രേം നരേന്ദ്രനെ കൊന്നു ആത്മഹത്യാ ചെയ്യുന്നു.

Pix Courtesy : MSI

നായകനും, നായികയും, വില്ലനും കൊല്ലപെടുന്നു, നായിക വിവാഹിത – തുടങ്ങി ഒട്ടേറെ പിഴവുകള്‍ (?) ആ ചിത്രത്തില്‍ ഉണ്ട് എങ്കിലും അതിന്റെ അവതരണം പ്രേക്ഷകരെ ആകര്‍ഷിച്ചു . ആദ്യ വാരങ്ങളില്‍ ജനങ്ങള്‍ കയ്യൊഴിഞ്ഞ ഈ ചിത്രം ദിവസം കഴിയും തോറും വന്‍ ഹിറ്റിലേക്ക് കുതിച്ചു . ഓരോ തീയട്ടരുകളിലും ആരാധകരെ കാണാന്‍ ശങ്കറും പൂര്‍ണ്ണിമയും മോഹന്‍ലാലും എത്തി.ഇനി ഇതിനു പുറകിലെ ചില രസകരമായ വസ്തുതകള്‍ അന്നത്തെ മാസികകളില്‍ വായിച്ചതു പറയാം. മോഹന്‍ലാലിന്‍റെ നരേന്ദ്രന്‍ എന്ന കഥാപാത്രത്തിനു ആദ്യം നറുക്ക് വീണത്‌ സുകുമാരന് ആയിരുന്നു. എന്നാല്‍ തന്റെ നരേന്ദ്രന്‍ വളരെ ചെറുപ്പമാണ് എന്ന് ഫാസിലീന്ടെ വാശിയില്‍ മോഹന്‍ലാലിനു നറുക്ക് വീണു.
ഷൂട്ടിംഗ് നടക്കവേ മോഹന്‍ലാലിനു ഒരു അപകടം പറ്റി കാലു പ്ലസ്റെര്‍ ഇട്ടു. ഇന്നത്തെ പോലെ മോഹന്‍ലാലിനു വേണ്ടി ഷൂട്ടിംഗ് മാറ്റി വയ്ക്കാന്‍ അപ്പച്ചന്‍ തയ്യാറായില്ല. പ്ലസ്റെര്‍ ഇട്ട കാലുമായി മോഹന്‍ലാല്‍ അഭിനയിച്ചു. ശങ്കറും ആയി ഉള്ള സംഘട്ടന രംഗത്ത് വടിയും കുത്തി ആണ് മോഹന്‍ലാല്‍ വരുന്നത്.

ഇതിലെ പാട്ടുകള്‍ ചിട്ടപ്പെടുത്തിയത് ജെറി അമല്‍ദേവ് എന്ന സംഗീതഞ്ജന്‍ ആയിരുന്നു . ഇതിലെ ഒരു പാട്ട് രംഗത്ത് പൂര്‍ണിമ ഡബിള്‍ റോളില്‍ വരുന്നുണ്ട് . അന്നത്തെ കാലത്ത് പ്രേക്ഷകരെ ഒത്തിരി ആകര്‍ഷിച്ച ഒരു രംഗം ആയിരുന്നു (പിന്നീട് ശ്യമയിലെ ചെമ്പരത്തി പൂവില്‍ വീണ്ടും ഇത് കണ്ടു. തുടര്‍ന്നു പല പടത്തിലും ഇത് വന്നിട്ടുണ്ട് അതില്‍ ഏറ്റവും ഹിറ്റ്‌ ആയതു മാണിക്യ കയ്യാല്‍ മേഞ്ഞു മെനഞ്ഞു (വര്‍ണ പകിട്ട്) ആയിരുന്നു.

ഇതാ ആ ഗാനം.

ഈ ചിത്രം വാരികൂട്ടിയത് ഒന്നോ രണ്ടോ അല്ല ഒട്ടേറെ പുരസ്കാരങ്ങള്‍ ആയിരുന്നു. ജയനോടുള്ള ആരാധനാ മൂത്ത് മറ്റു സിനിമകള്‍ മാറ്റി വച്ച പ്രേക്ഷകര്‍ അതൊക്കെ മറന്നു ഈ ചിത്രത്തെ ഹൃദയത്തോട് ചേര്‍ത്തു.

ശേഷം.

ശങ്കര്‍ വെറും പ്രേമ നായകന്‍ ആയി മാറി . കിട്ടുന്ന വേഷങ്ങള്‍ എല്ലാം ഒരു പോലെ . കഥ പാത്രങ്ങള്‍ തിരഞ്ഞെടുക്കാന്‍ ശങ്കര്‍ ശ്രമിച്ചില്ല. ഫലം പ്രതീക്ഷിച്ച പോലെ ജനത്തിന് മടുത്തു തുടങ്ങി. ഒടുവില്‍ വില്ലന്‍ വേഷങ്ങള്‍ വരെ ചെയ്തെങ്കിലും ജനം തിരസ്കരിച്ചു. പൂര്‍ണിമ വളരെ പെട്ടെന്നാണ് സൌത്ത് ഇന്ത്യ മുഴുവന്‍ കീഴടക്കി . ഈ ചിത്രത്തിന് മുന്‍പ് മൂന്നു ഹിന്ദി ചിത്രങ്ങളില്‍ തല കാണിച്ച പൂര്‍ണിമ പിന്നീട് തമിഴ് സംവിധായകന്‍ ഭാഗ്യരാജിന്റെ ഭാര്യ ആയി . തുടര്‍ന്നു അഭിനയം നിര്‍ത്തി. പൂര്‍ണിമയുടെ മക്കള്‍ ശന്തനുവും ( എന്ജേല്‍ ജോണ്‍) ശരണ്യയും (ഫോട്ടോ ഗ്രാഫര്‍) മലയാളത്തില്‍ അഭിനയിച്ചിട്ടുണ്ട്.

ഫാസില്‍.

ആദ്യ ചിത്രത്തിന്റെ കെട്ട് തലയ്ക്കു പിടിച്ച ഫാസില്‍ മറക്കില്ലൊരിക്കലും, ധന്യ, തുടങ്ങിയ ചിത്രങ്ങള്‍ ചെയ്തു അത് രണ്ടും പരാജയം ആയിരുന്നു. ഈറ്റില്ലം എന്ന ചിത്രം നല്ല അഭിപ്രായം നേടി എങ്കിലും തീയറ്ററില്‍ ആളിനെ നിറയ്ക്കാന്‍ സാധിച്ചില്ല. തുടര്‍ന്നു അല്പം സാവകാശം എടുത്തു ചെയ്ത “എന്‍റെ മാമാട്ടികുട്ടിഅമ്മയ്ക്ക്” വന്‍ ഹിറ്റ്‌ ആയി. ( തീയറ്ററില്‍ വിജയിക്കാത്ത എന്നെന്നും കണ്ണേട്ടന്റെ എന്ന ചിത്രത്തിന് മികച്ച ജനപ്രീതിക്കുള്ള അവാര്‍ഡ്‌ കിട്ടിയത് വേറൊരു അതിശയം). മലയാളത്തിലെ ഏറ്റവും നല്ല ക്ലാസ്സിക്‌ ചിത്രങ്ങളില്‍ ഒന്നായ മണിച്ചിത്രതാഴ് ഫാസിലിന്റെ സംഭാവന ആണ്.

ഇനിയാണ് വില്ലന്റെ കഥ.

മോഹന്‍ലാല്‍ പിന്നെയും വില്ലന്‍ ആയി . ഒരു ചാന്‍സും കളയാതെ കിട്ടിയ പടത്തില്‍ എല്ലാം കയറി അഭിനയിച്ചു. എങ്കിലും ഒരു ആകര്‍ഷണം എവിടെയോ ഉണ്ടായിരുന്നു. തുടര്‍ന്നു ഉപനായകന്‍ ആയി . മമ്മൂട്ടി നായകന്‍ ആയ പല ചിത്രങ്ങളിലും മോഹന്‍ലാല്‍ വില്ലന്‍ ആയി ഒരിക്കല്‍ മമ്മൂട്ടിയുടെ മകന്‍ ആയി വരെ മോഹന്‍ലാല്‍ അഭിനയിച്ചു ( പടയോട്ടം) മഞ്ഞില്‍ വിരിഞ്ഞ പൂക്കളില്‍ തന്നെ തല്ലിയ ശങ്കറിനെ കിഴക്കുണരും പക്ഷിയില്‍ തിരിച്ചു തല്ലി പ്രേക്ഷകരെ തൃപ്തിപെടുത്തി!

നരേന്ദ്രന്‍ രംഗപ്രവേശം ചെയ്യുന്നു !

ഇനി ഈ ചിത്രം നേടിയ പുരസ്കാരങ്ങള്‍ നോക്കാം

• ജനപ്രീതി നേടിയ ചിത്രം.
• മികച്ച നടി -  പൂര്‍ണിമ ജയറാം
• മികച്ച സംഗീതം  – ജെറി അമല്‍ദേവ്
• മികച്ച ഗായകന്‍ – യേശുദാസ്
• മികച്ച ഗായിക – എസ് ജാനകി
• മികച്ച പശ്ചാത്തല സംഗീതം – ഗുണ സിംഗ്

ഈ ചിത്രം തീയറ്ററില്‍ എത്തിയിട്ട് ഇപ്പോള്‍ 31 വര്‍ഷം.

നന്ദി : വികിപീടിയ , ഒപ്പം ഓര്‍മ്മകള്‍ പങ്കു വയ്ച്ചു എന്നെ സഹായിച്ച എല്ലാ സന്മനസ്സുകള്‍ക്കും.

Meena Kumari ( that was how she was credited in the titles of her first film, and it some how stuck ) aka Meena doesn’t need any introduction for anyone who understands Malayalam cinema. The  Meena effect is THAT all-encompassing. I cannot think of another actor in  World Cinema ( yes, you can read that again) who served sarcasm with such sassiness and verve. And when she decided to mix it up with earthy humor, all you can do is sit there shaking, holding on to your sides and be amazed. Meena, just like most of her peers had this amazing ability to ‘disappear’ onscreen, along with the cinema lights. All that remained onscreen was the conniving, conspiring mother-in-law ( I think she must be the one to have played the maximum ‘varieties’ of  that in Indian films – talk about being type-cast ! ), or the manic proponent of a ‘very emotional path’ to reach  Jesus, or the orthodox, socially inept Brahmin matriarch, or the loving mother with a razor blade masquerading as her tongue – she did them all and more with sassiness that seldom few can boast of being blessed with, onscreen.

Meena, along with being one of the finest actors that ever graced the Malayalam screen, was an equally wonderful and compassionate human being with an irreverent sense of humour as well, and the instances of her generosity and compassion, have been quoted in many instances, the majority of them by Sathyan Anthikkad, whose films always had a place for her, and which also gave some of the best roles of  her career. In Sathyan’s  tribute to his favorite actors, put together by Taha Madayi in Sathyan Anthikkadinte Grameenar ( You can buy it here), he speaks about this instance,  (one of the many that so beautifully brings out her empathy and caring) where  during the shoot of his debut movie, Kurukkante Kalyanam almost came to a standstill because his producer, try as he might, just couldn’t find the money to buy evening ‘tiffin’ for the entire crew for the scheduled full day shoot, during a break at 6 pm, which was the custom.

A clipping from Kurukkante Kalyaanam (1982)

Dive straight to 6:00 and stay till 9:30 .

The producer, Rashid, wanted Sathyan to packup at 5 pm ! Sathyan was aghast. They had got Madhavi, the leading lady of the film, managing shooting dates with the finesse of a seasoned acrobat, and one day lost would mean another spell of financial troubles on the already stretched production budget which was, to say the least, threadbare. They had to make the maximum out of the available time with the major artists on the set, and he had planned for shooting till 10 pm. Depressed, overwrought and not knowing what to do, Sathyan was moved when Meena, who was within earshot of the entire hushed conversation, and played the memorable Aaminumma in the film, silently slipped in the cash into Rashid‘s hand and quietly, firmly told him to go and order food for the entire crew.

Courtesy : MSI

From Karuvatta, (near Haripad) Meena was the 8th and the youngest daughter of Koyikkaleth Itty Cheriachen and Eliyamma, and took to local theater and drama projects like fish to water at a very young age. Come to think of it, isn’t that exactly what her name represents, the Meena rasi – Pisces ? She had, just like her peers finished a long and productive stint in amateur and professional theater for getting into films.

From what I could gather, her theater debut was called Nirdoshi.  She was associated with some of the very popular professional theater companies like Geetha Arts and Kalaalayam   for 6 years before her debut into films. Her first film, from what I could gather ( information on her is so, so difficult to come by ) was Kudumbini in 1964, scripted and mostly directed by Sasi Kumar, and was also the debut of Zero Babu as a playback singer, the movie that made LPR Varma a popular music director for films, and the movie that gave CO Anto his first popular hit song. from Kudumbini in 1964 till her last movie Anjarakalyaanam in 1997, in a film career close to 4 decades, an  exact count of the number of films she has been a part of still remains elusive. She was someone who just did her films do the talking, carried herself with quiet dignity and grace and remained a true professional till the very end.

Speaking of her professional career, interestingly, it seems to have followed roughly the same pattern of her peers – the established male actors typecast as villains, baddies and punching bags by a restricted business vision of the film production dynamics of their early years graduating to their true calling through the committed will and foresight of some young directors who realised their true potential.  Think Janardhanan and Cochin Haneefa, who were just a rung lower than punching bags in their early decades till Rajasenan and Sibi Malayil came along and showed us the true worth of these actors. Meena was no different.

Meena as Bhargavi Amma | Evil personified in Viruthan Shanku (1968)

Relegated to the evil mother-in-law/step-mother/wife roles in her early years, she was our own Lalitha Pawar of Malayalam cinema for a while. It is interesting to note the uniqueness she brought to essentially the same role in so many different ways, from her attire to her body language to her tonal delivery, that made each one of them so refreshing. You knew she was evil, but you looked forward to her onscreen so that you could hate her more. Compare two of her compelling performances from that big bad body of the ‘evil MIL ‘genre,  Paru Amma from Achaaram Ammini, Osharam Omana (1977) and Sthreedhanam (1993) – the basic premise and the character realisation is the same, but both stay memorable for the uniqueness she brings in portraying them. The inherent qualities that we perceive in them, as viewers and participants of the proceedings are same, but they stay different. I think  one has to have mastered the nuances to get them right and memorable. Meena had that magic wand.

Meena as Paaru Amma in Achaaram Ammini Osharam Omana (1977)

Even when seemingly stuck in the rut of the ‘evil matriarch’ in Malayalam cinema, she worked her way around as an actor to be part of movies that portrayed her in a delightful different light altogether. A pleasant surprise was in KS Sethumadhavan‘s Aranaazhikaneram (1970) where she played Annamma, the quiet, timid, withdrawn, traditional wife who undergoes an amazing transformation towards the end of the movie that is equally heartbreaking.

Meena as Annamma in Aranaazhikaneram (1970)

Compare this with her appearances in the ‘detective-romance- genre’ from Sasi Kumar‘s productions, that till date I have difficulty in trying to understand. If they had deeper hidden meanings and profound philosophies under those meaningless dialogues exchanged onscreen, I confess, I still haven’t got it Sasikumar‘s movies, of that period to me, were a bunch of fabulous songs strung up on a tapestry of the most bizarre story lines and hung out out to dry. And I absolutely love everyone of them , just like the CID genre. Else, how else would you explain this song from Padmavyooham (1973) – the absolutely chucklicious and tongue-in-cheek Panchavadiyile, as she shakes it  up with Adoor Bhasi. You never expected Meena to do THAT, did you ?

Panchavadiyile from Padmavyooham (1973)

How about Saarassayi Madana from Maanyashree Vishwamitran (1974) ?

I guess  she did as the ultimate parody on all those ‘seduction – romance dances” in Malayalam cinema by the leading ladies in her own way She could do what she pleased, you see, she was p****d drunk All the more reason to let it out, all cylinders firing.But her lip-synch on the classical bits is spot on !

I think she came to her own in the 80′s, and her association with Sathyan Anthikkad‘s Kurukkante Kalyanam became the key that opened up a lot of possibilities for the real actor in her, based on the three decades of screen experience she had as a film artiste, strengthened by her strong base on theater.  With Sathyan Anthikkad, she regaled us in Mandanmar Londonil (1983), Appunni (1984), Kaliyil Alpam Karyam (1984), Nadodikkattu (1987), Varavelpu (1989), Mazhavilkaavadi (1989), Sasneham (1990), Thalayalamanthram (1990) and Golantharavartha (1993) – ( did I miss any ? ), and I think the majority will agree that some of her most memorable characters, and arguably one of her career’s best  came from this association.

A clipping from Varavelpu  (1989)

Dive straight to 5:50

The 90′s belonged to Rajasenan‘s movies, with her giving us her way with his unique humor sensibilities ( though it became kind of cheesy and obnoxious through the years) in Ayalathe Adheham in 1992, following it up with her spectacular and the best role of her career ( atleast for me) in Melepparambil Aanveedu (1994). Aniyan Bawa, Chettan Bawa (1995) followed, and The Car (1997) was the last amongst them.

Her last movie was Ancharakalyaanam (1997 ) ( thanks to Jay ) , directed by VM Vinu. It was in September, 1997 that she succumbed to a massive heart attack.  In a Movie Artistes’ Directory brought out by the actor Kaduvakkulam Antony in 1988, he pegs  the number of movies that Meena has been a part of, at 600 ! The sheer number of projects that she has been a part of is mind boggling, somewhere close to the realms of Sukumari‘s body of work. Even Meena had an equal number or more releases in the late 70′s that Jayan had at the peak of his career, in the range of 12 – 13 movie releases an year !  That, in itself, shows the industry’s desire to make her a part of the announced projects, an vindication of her talents that formed a vital part of the commercial aspects of the movie industry. She was that cog-wheel that the main flywheel always felt comfortable and reassured by her sheer presence. She was undoubtedly one of the finest actors in Malayalam cinema. Period.

You will always be remembered.

Related : Meena | My Favorites.

Pix rights : Taha Madayil

The above photograph, taken during the shooting of Sasneham beautifully illustrates the coming together of three schools of acting that has regaled with the different faces in the genres that they excelled in. I think this one of those rare instances when all of them came together to share screen space, and interestingly depicting characters that were pitted against each other resulting in memorable, yet hilarious outcomes, as per the screenplay envisaged. I remember Sukumari and Meena together in Kadathanaattu Maakam and Sthreedhanam from the recent past – if you remember all three of them together in a single movie, do write in. A list of them would make for an interesting topic of discussion. As with every other actor of her calibre, years of experience and a prolific rate of creative output, its next to impossible to even compile a list of her favorite roles without testing one’s patience, for the compiler and the reader. I have tried, as usual, to put together the ones that are memorable from the unique flavors and the ones that were representative of the umpteen ones she did in the same vein. Don’t forget to write in with yours too.

Viruthan Shanku (1968)

Meena as Bhargavi Amma | Evil personified in Viruthan Shanku

One of the best representations of her ‘evilness personified’ was in Viruthan Shanku, as Bhargavi amma, a peculiar amalgamation of a persona that is at the same time haughty, obtuse, over-bearing and borderline psychotic, she is blissfully oblivious of a world where she doesn’t hold all the aces, and is inevitably disoriented when she realizes that all that she really hold is a set of jokers.The part where she unceremoniously kicks out her meek, pliable and timid husband ( a sad and forlorn looking Kottarakkara Sreedharan Nair) is brilliant.  Another memorable version of this consistent drivel comes in Sthreedhanam, a good two decades later, but the manic lashing never tones down a bit. So does the sneer.

Aaramamullakaley from Viruthan Shanku.

Rest House (1969)

Sasi Kumar’s movies are a bizarre, delightful riot. No, am not saying that all of them are ( Thommante Makkal surely wouldn’t be, for starters), but the ones that were, absolute fun capers. And another intersting common factor I have found with his class of “mindless explorations in celluloid” are the beautiful songs that somehow form a part of the movie, in most cases all of them. It is almost as if, he just did up a story right there on the sets to string up  a handful of wonderful songs on playback. Rest House is no different. Evey single song is memorable and are classics in themselves. The story ..umm..that would be another long story

Meena played Professor Lakshmi, who comes to this popular hill-station for a Botany Class camp with her students (all girls..duh ) and camps at the only Rest House where Professor Das ( Adoor Bhasi) also has set up camp with his band of students ( all male !) and the many instances of how both the unruly bands try to get one up on each other, falling in love with each other in the process. [Adoor Bhasi is in a double with another version being one of the students !] Both the Professors, spinsters also gradually find themselves having a soft spot for each other. What also makes this memorable is the full-length presence of both these senior actors in pivotal roles that are carried to the very end and not as side kicks.

Paadatha Veenayum from Rest house.

Aranaazhikaneram (1970)

Meena  played Annamma in K  S Sethumadhavan’s classic, the eldest daughter-in-law of the patriarch, married to the richest of his sons, the most influential family of the place and living in her own private hell with her philandering and chauvinist husband ( N Govindankutty). There are two instances where she comes home to meet  her ailing father in his twilight years ( Kottarakkara Sreedharan Nair as the brilliant  Kunjonaachan ) – first as the hapless daughter who seeks refuge in her father-in-law’s wisdom and experience for a way out of her predicament – ( to stay in the marriage or throw it all away), and the second time, with an amazing transformation that shakes  the patriarch to his foundations. Any father’s world who witnesses  a transformation such as that in his son’s perceived blissful marriage life would literally implode taking his sanity along with him. You have to watch the movie. No two ways about it.  The way she finishes off  in the end with, “അതേയ്, മക്കളെ ചൊവ്വിനു വളര്‍ത്തണം. അതെങ്ങിനെ, നിങ്ങള്‍ ചോവ്വായിരുന്നോ?” is fantastic.

Itha Ivide Vare (1977)

I think this was her first association with P Padmarajan, here as the script writer. Itha Ivide Vare is Padmarajan‘s take on the “Hunter and Prey” genre – one of his favorites ( going by the number of screenplays he did in that genre), with revenge as the only emotion powering the movie, with a healthy dose of quirky eroticism and plain lust thrown in to further complicate the proceedings. With IV Sasi as the director, it can’t go wrong, can it? Meena played  Jaanu, (come to think of it, is Jaanu, as a dear friend put across once, the official name of  onscreen floozies in Malayalam cinema? ) the once comely and buxom but now retired village prostitute, which Padmarajan conveys with subtle nuances, whose only daughter is now coveted by Paili ( Madhu ), the resident evil-cum-stud hombre’ of the locality, who wears his testosterone on his sleeve and usually leaves his social conditioning at home before he leaves with his huge dover of ducks, which he breeds and sells for a living. The scene where Paili openly demands Jaanu to allow him to to sleep with her daughter, offers  a lot of money,  with an implied (and so hazy ) promise of marriage,  and Meena’s reactions is just so memorable. Living in abject poverty, it is the last thing she wants for her daughter’s life, but events take a very interesting turn. Meena was absolutely marvelous in the role.

The title track from the movie.

Rathinirvedam (1978)

Rathinirvedam  followed Itha ivide vare with respect to her association with Padmarajan‘s school of movies, and I think it was her second with him. I remember her making a   brief appearance in Lorry (1980) again with the same team of Padmarajan-Bharathan. Meena as Narayaniyamma, the mother of  Rathi ( Jayabharathi) didn’t have any 6 pages long harangue against the world or a pithy melodramatic spiel at any part of the movie. The handful of scenes that she appeared was enough to establish her part in one of the historic movies in Malayalam cinema. The final scene where she comes to realise the inevitability of the moment as she holds a sinking Rathi to her bosom, to me,  is one of the finest moments in the film.

Ithikkara Pakki (1980)

This mention is a sort of tribute to the 80 early kitsch that was mainly dominated by Sasi Kumar, and the technicolor monstrosities that had you chuckling even in your sleep, action and soft-porn movies included. Meena played the long-suffering mother of Ithikkara Pakki ( Prem Nazir, if you please ), presumed to be dead by her family and loved ones, but kept locked away in the cellar of the local squire, a raging philanderer, who does this as she is the sole eye witness to his murder of his wife. Unlike the others, her presence is felt and shown throughout the movie, and the separation angle is overdone so as to make the audience undergo an emotional breakdown as the long separated ( and presumed dead ! ) mother and rebel son reunite, but all you can do is roll your eyes.

A Clipping from the movie. [ Jump straight to 5:05. ]

Vadakkan Paattukal and Period dramas

Meena, it seems, also wasn’t oblivious to the call of the Vadakkan Paattukal from Udaya studios   I can recall her in Thacholi Ambu (1978)  { it was  her first one amongst the Vadakkan Paattukal on film},  a  ‘period – costume’ drama AND Kamal Haasan‘s cold turkey Vayanaadan Thampaan (1978), Kadathanaattu Maakkam (1978), back to IV Sasi‘s desert caper Alavudeenum Athbhutha Vilakkum (1979), Navodaya’s Padayottam in 1982 and PV Thampi’s voodoo-tantric Sreekrishna Parunthu in 1984. What I recall best amongst all of these is her role in Kadathanaattu Makkam, as one of three sister-in-laws to Maakkam ( Sheela), whose only job from dawn to dusk is to rant against Maakkam  amongst themselves, consumed with jealousy and vanity.

A clipping from Kadathanaattu Maakkam. [ Starts at 4:05 ]

Marmaram (1982)

Based on Vijayan Karot‘s story, and screenplay by John Paul, Marmaram ( Rustle) was a short and sweet movie that also emerged the winner in the 1982 Kerala State Film Awards. 1982 must have been a very proud year for Bharathan to have two of his films ( the other being Ormakkaayi )sweep away most of the awards of the year between them ! The songs from Marmaram still brings goosebumps every time  I listen to it. Meena played the mother of the main protagonist ( Nedumudi Venu as Narayana Iyer ), fanatically orthodox in her Brahminical belief systems and caught between her immense love for his son and her traditions, every time she decides to get her mind to accommodate  another intrusion into her belief systems, it seems her personal integrity slides down a couple of notches. The moment she comes face to face with an unpleasant secret that her son had deliberately kept away from her, she does the unthinkable, and yet we can only sympathise and agree with her decision. Watch Marmaram, if you still haven’t watched it yet, before this X’mas season is over.

Her roles in Varavelpu (1989) and Mazhavilkaavadi (1989) would be discussed in a separate  post centered around her association with Sathyan Anthikkad’s movies, which I would post soon.

Om from Marmaram, one of my favorite songs.

Yodha (1992)

“അശോകന്‍ കുടിക്കണ്ട.അശോകന് ക്ഷീണമാകാം.അവശതയോടെ കളിച്ചാല്‍ മതി.”

Enough said !

Starts at 02:26.

Sthreedhanam (1993)

Maheshwariamma from Sthreedhanam (1993) has to be her most intense performance in her career as the archetypal mother-in-law, also the best ever portrayed on Malayalam screen. Sthreedhanam (1993) or ‘How Shanthan Gets His Spine Back‘  was the screen adaptation of CV Nirmala aka Joycy‘s syndicated novel of the same name that appeared in the Malayala Manorama Weekly and an immensely popular one of its  times. The entire plot and cast followed the expected, cliched curve but I guess that was what made even the screen version equally popular. Maheshwari amma’s chilling portrayal of the ‘all that can go wrong with a mother-in-law’ was ably balanced on the opposite end by Sukumari, as the ‘steeped-in-tears’ mother of the bride.The two extermeties were a delight to watch. Of course, Maheshwari amma gets her comeuppance in the last few minutes of the movie, as expected, but I am sure that if an online poll had invited suggestions from the dedicated readership regarding who would best portray the mother-in-law even before the movie was even conceived, the answer would have been unanimous ! Such was her supreme talent. Arguably, one of the best roles of her career, according to me.

Melepparambil Aanveedu (1994)

To me, this has to be the top in the top three roles that I love of her onscreen ! None of her peers could ever, ever bring the right degree of maternal care, sarcasm, indifference, venom and abject frustration with biting humor in the exact proportion as her to bring alive Bhanumathy, the wife of the Hitleresque – Thrivikram Muthallali, an orthodox, feudal-inclined, crazy mix of “Hitler and Don Corleone”, father to three bachelor sons who seem to rule the family with a iron hand but has this deep, abiding love for his family ( Prof. Narendra Prasad in one his best roles of his career ). She  responded, matching every   single dead-pan delivery with an equal degree of disdain, matching Thrivikraman Muthalali, invective for invective. The abject terror she invokes in her elder sons and her spinster brother is a sight to behold. I think they were more terrified of her than their father Else, which son  could come out with that classic explanation for the external signs of  pregnancy, plumbing the depths of his rational thought, just to convince her and escape from her wrath, even if it comes out sounding like the most stupid man in the universe ? Jagathy‘s plaintive wail of

      ഞാനല്ലാ, എന്‍റെ ഗര്‍ഭം ഇങ്ങനല്ലാ…..!

ranks right up there with the legendary quotes in the history of Malayalam cinema. True, it just wouldn’t have been possible without the excellent screenplay and the development of the screen  characters by Raghunath Paleri, but think about it. Who else but Meena in Malayalam cinema at that time to pull it off ? Meena seemed to living the role, and I’m sure it must have been one of the roles that she immensely enjoyed playing, till the last frame.

Hop in !

Hon Mention : Aniyan Bawa Chettan Bawa ( 1995)

Related : Remembering Meena