Films and the Ramayana

A still from 'Kanchana Seetha'

A still from 'Sree Rama Pattabhishekam'

B. Vijayakumar is a film historian and columnist


The month of Karkidakam (mid July to mid August) is also called the Ramayanamonth. Reading the Ramayana, especially during this month, is a timeless tradition handed down by generations. Let’s take a look at some of the films based on the epic or adaptations of the stories from the Ramayana.

This ‘tradition’ in Indian cinema began from the Silent Era. Films like Dada Saheb Phalke’s Lanka Dahan (1917) and G.V. Sane’s Ram Janma (1920) were some of the earliest. Vijay Bhatt’s Hindi/Marathi bilingual Bharat Milap (1942) and its sequel Ram Rajya (1943) are regarded as the most successful screen adaptations of the Ramayana. Ram Rajya has the unique distinction of being the only film to have been watched by Mahathma Gandhi in his life.

Two successful Malayalam films of the early period are Kunchacko’s Seetha (1960) with Prem Nazir and Kusalakumari in the lead and P. Subramaniam’s Sree Rama Pattabhishekam (1962) with Prem Nazir and Vasantha as Rama and Seetha. Both these films were direct copies of Ram Rajya and Bharat Milaprespectively.

Most of the Tamil and Malayalam films of this genre were dubbed versions of Telugu films. For example, Seetha Swayamvaram (1976) was the Malayalam dubbed version of Bapu’s super hit Telugu mythological Seetha Kalyanam (1976).

Kanchana Seetha, (1977) directed by G. Aravindan, was an adaptation of C.N. Sreekantan Nair’s play published in 1961 and successfully staged the same year. Produced by K. Ravindran Nair under the banner of General Pictures, the film won the National Award for the Best Director. Aravindan wrote the script and dialogues; the film had excellent camerawork by Shaji N. Karun and amazing art by Artist Namboodiri. The colour film was shot at outdoor locations in the forest areas on the banks of the Godavari, Andhra Pradesh. The film told on screen the story of Uttara Ramayana. Seetha symbolises Nature. The character never appears in the film but her presence is compellingly evoked in the moods of the forest and the elements such as the rustling of the wind in the trees or as the rain bringing harmony where discord threatens. The roles of the epic heroes were played by tribal people belonging to the Rama Chenchu sect, who claim lineage to the mythological Rama. The film was not a commercial success. Aravindan’s film had very few dialogues. The film significantly differed from all other adaptations of Ramayana in the characterisation of the central characters like Rama, Lakshmana, Bharatha etc. The characters were humanised, contrary to the way in which mythological characters were usually depicted on the screen with magical powers.

In several other Malayalam films emotional moments from the Ramayana were co-related with melodramatic scenes through songs. The popular number Sree Ramachnadrante arukil…(K.J. Yesudas) from Oonjaal (1977) relates the scene with Rama’s wedding procession that is stopped by Sage Parasurama. Mattoru Seethaye kaattilekkayakkunnu…. (Kamukara Purushothaman-Tharavattamma:1966 ) connects Seetha’s abandonment to the sequence in the film. Other popular songs in this list are Raman, Sree Raman …( P. Jayachandran-Ayodhya: 1975), Ashoka vanathile Seethamma…( Kamukara Purushothaman-Kallichellamma: 1969); Ramayanathile dukham…(N.V. Haridas-Kayalum Kayarum:1979) etc.

Though titles of some Malayalam films are taken from the Ramayana, the storyline are in no way related to the epic. For example, Ashwamedham (1967), Lanka Dahanam (1971), Puthrakameshti(1972), Panchavati (1973), Sethu Bandhanam (1974), Maa Nishada, Aranyakaandam, Ayodhya, (all 1975), Ahalyamoksham (1976), Yudha Kaandam (1977) etc.

There are also a few songs in Malayalam that sing praise of Rama. Some of the popular ones areRaghukula nayakane Sree Rama…(Malathi ) and Bhaktha parayana….(M. K. Kamalam) both fromBalan (1938), and Thriprayarappa Sree Rama….(Vani Jayaram: Ormakal Marikkumo,1977).

Nellu (1974)

Prem Nazir, Mohan, Prem Nawaz, Kottarakkara Sreedharan Nair, Adoor Bhasi, Bahadur, Jayabharathi, Kanakadurga, Kaviyoor Ponamma, Kaviyoor Ponnamma etc.

Aana Valarthiya Vanampadi (1959), Kaattu Maina (1963), Kaattu Mallika(1966) etc. were some of the Malayalam films that had the jungle as its backdrop. The colour film Nellu, released on August 23, 1974, was the first Malayalam film that portrayed life of the adivasis of the State. The story was centred on Thirunelli village, in Wayanad, and the surrounding jungles.

Nellu was based on an award-winning novel of the same title by P. Valsala which was first published in 1972 and was a bestseller. The novel deals with the customs, manners, beliefs, taboo s and prejudices of the Adiyar tribal community in Wayanad and created a sensation when it was published. Produced by N.P. Ali under the banner of Jammu Films International, the film was shot almost entirely in Thirunelli and the villages around.

The excellent cinematography by Balu Mahendra, who was making his film debut, made Nellu a beautiful, outdoor visual treat. Directed by Ramu Kariat, the script was written jointly by Kariat and K.G. George. The dialogues were by S.L. Puram Sadanandan. Another highpoint of the film was the music by Salil Chaudhary. Latha Mangeshkar made her Malayalam film debut with a song that turned super-hit. Hrishikesh Mukherji and Appa were the editors.

Prem Nazir, Mohan, Prem Nawaz, Adoor Bhasi, Bahadur, Thikkurissi, Kottarakkara Sreedharan Nair, Jayabharathi, Kanakadurga, Kaviyoor Ponamma, Adoor Bhavani etc were cast in important roles. An array of popular actors like S.P. Pillai, K.P. Ummer, Innocent, Rani Chandra and Sumithra appeared in guest roles.

On his pilgrimage to Thirunelli temple and to immerse the ashes of his mother in the sacred river Papanashini that flows beside the temple, Raghavan Nair (Prem Nazir) befriends the family of Savithri Warasyar (Kaviyoor Ponnamma), a widow. He stays with the family at her request.

Nair comes across the life of the tribals. Their struggle against Nature, superstitions, the servility and exploitation they put up with, all of this become notes in his diary. The story is narrated through Nair’s observations.

Kurumatti (Kanakadurga), is a tattooist of the tribal community and is married to Chathan (JAR Anand). She tries to seduce Mallan (Mohan), a handsome tribal youth. Chundeli (Kottarakkara Sreedharan Nair) who was away from Thirunelli for a long time returns to the village with his wife Pembi (Adoor Bhavani) and daughter Mara (Jayabharathi). Mallan and Mara fall in love with each other. Chundeli and Pembi agree to their marriage.

Kurumatti is upset by this. She spreads rumours that Mara and Mallan belong to same gothra or clan and so, according to the tribal traditions, cannot marry.

The tribal chief (Thikkurissi) imposes a ban on their marriage. Mara runs away with Mallan. The tribal community turns against them and the chief imposes a penalty for their breaking the traditions. Mallan leaves Thirunelli in order to earn money to pay the penalty. Mara stays in a storeroom at Savithri’s house.

Savithri’s younger brother Unnikrishnan (Prem Nawaz) is drawn towards the charming Mara. On a rainy day he rapes Mara and leaves the village. Mallan is afflicted by malaria but reaches the village with the money. He dies of the disease. The tribal chief sentences Mara to be lapidated and driven away from the tribal colony. Raghavan Nair intervenes and promises to keep Mara away from the colony. He requests Savithri help Mara and she accepts the tribal woman as her daughter. The film ends with Raghavan Nair leaving Thirunelli.

Kanakadurga excelled in her very complex role. Adoor Bhasi as the Postman, Ummer as a hunter also impressed. The comic scenes involving them and S.P. Pillai did not distract from the main plot.

Hrishikesh Mukherji won the Kerala State award for the best editor for this film.

The songs written by Vayalar Rama Varma and set to music by Salil Chaudhary turned super hits.Kadali kankadhali… (Latha Mangeshkar), Neelaponmaane … (K.J. Yesudas- P. Madhuri), Kaadu kuliranu… (P. Susheela) and Chembaa chembaa…(Manna Dey, P. Jayachandran & chorus) are still popular.

Will be remembered: As Balu Mahendra’s debut film, for Lata Mangeshkar’s first Malayalam song and for the music.