Kandam Becha Kottu (1961)

IN COLOUR Prem Nawaz with Thikkurissi and Ambika in the film

Modern Theatres, producers of the first talkie film in Malayalam, also brought colour with the Muslim social drama ‘Kandam Bacha Coattu.’ Based on a popular novel, which was also staged as a play under the same title, the screen version in Eastman colour was a success.

The film focussed mainly on the evil of dowry system which was rampant in the Muslim community. A trailer of the film was introduced for the first time in Malayalam cinema.

This film was the first Malayalam directorial venture of the famous director T. R. Sundaram. Nellikkodu Bhaskaran, noted for his character roles, made his debut in this film. It introduced the Kozhikodan slang throughout the film. The dialogues by K.T. Mohammed were impressive. He assailed the many undesirable practices in the community with a punch. All the artists, especially Nilambur Ayisha, spoke the local slang in a very natural style.

The story of the film revolves around a kind hearted cobbler Mohammed Kakka (T. S. Muthiah). He keeps his life savings into the pockets of his old coat to realise his dream of going on a pilgrimage to Mecca. Alikoya Haji (Thikkurissi) loves his son Ummer (Prem Nawaz) and brings him up showering all love and affection. Hajis’s sister Kadeeja (Pankajavalli) and her family lives in the neighbourhood. Amina (Aranmula Ponnamma) and her children, Kunju Bibi (Ambika ) and Hassan (Nellikkodu Bhaskaran) lives in the same house. Amina’s husband is a businessman in Singapore. Kadeeja’s husband Avaran (Kedamangalam Sadanandan) is very considerate to his brother’s wife Amina and her family. But Kadeeja keeps ill treating Amina.

Ummer falls in love with Kunju Bibi, his childhood mate. Kadeeja is jealous of this affair. She tries all sorts of tricks to create trouble but fails. Alikoya Haji decides to accept Kunju Bibi as his daughter-in-law, but demands a dowry of Rs. 2,000.

Amina’s husband starts from Singapore with the money. Arrangements for the wedding is made but to the dismay of everyone a telegram arrives informing the death of Amina’s husband during the voyage back home. Amina and her children are pushed out of the house, the marriage is postponed as Haji gives an ultimatum to organise the dowry.

Mohammed Kakka gives shelter to Amina and her family. Kadeeja continues to harass them, while Ummer tries hard to help them organise the money. He even goes to the extent of stealing from his father’s safe. Ummer is caught red handed and is placed under house arrest. Mohammed Kakka makes arrangements for the marriage. He offers the money he had saved and kept in the pockets of the coat. He also appeals to others in the neighbourhood to contribute for the marriage. Ummer finally marries Kunju Bibi providing a happy ending to the film. Mohmmed Kakka’s noble deed glorifies him.

The film ran for weeks in packed theatres. Thikkurissi excelled in his role of the Haji. Prem Nawaz, Aranmula Ponnamma, Ambika, and others came up with impressive performances. However, the main attraction was T. S. Muthiah’s Mohammed Kakka, considered to be his best performance in Malayalam. The film had nine songs by P. Bhaskaran and M. S. Baburaj. Some of the songs were hits of the time but could not stand the test of time. A comedy number ‘Zindabad, zindabad...’ by Mehboob, ‘Puthen manavatti...’ an Oppana song by P. Leela and chorus were popular. A drama, ‘Elayadethu Rani, was an added attraction.

Will be remembered: As the first colour film in Malayalam. It will also be remembered as the first directorial venture of T. R. Sundaram in Malayalam, as the debut film of Nellikodu Bhaskaran, actor and script writer K. T. Mohammed. As the first film to use the typical Kozhikode Muslim slang right through.

Neelakkuyil (1954)

AWARD-WINNING Sathyan and Prema in Neelakuyil

Neelakkuyil divides the history of Malayalam cinema and its music in the timeline of history. The film set the trend of realistic melodrama and brought the first National award (Presidents silver medal) to Malayalam cinema. The film was a musical hit. It also brought out the best from singers like Kozhikode Abdul Kader, Shantha P. Nair and Janamma David.

The story of Neelakuyil by Uroob that focussed on reformist literature was extended to a performance idiom using new generation stars like Sathyan, Miss Kumari and Prema. A.Vincent’s crisp camera brought out the beauty of black and white frames like never before. It remains one of the best of black and white films made in the language. The manner in which Vincent is amazing.

The pastoral tragedy tells the story of the love affair of a Harijan girl and an educated, high-caste school teacher. The script flays social evils like untouchability, feudalism, and injustice towards women through biting dialogues. The music was mainly based on folk tunes and all the songs had the smell of the soil. It included Mappilappattu, harvest song, a traditonal prayer, romantic melodies, all of which followed the folk traditions of the state.

The plot revolves around rustic life in a small village. Neeli (Miss Kumari), a Harijan peasant girl, falls in love with Sreedharan Nair (Sathyan), a school teacher. Neeli becomes pregnant. Sreedharan Nair refuses to marry Neeli fearing protest from society. Neeli becomes an outcaste. She is later found dead leaving behind her child. Sankaran Nair (P.Bhaskaran), the village postman adopts the child challenging the protests from the society. Sreedharan Nair marries Nalini (Prema), a member of an aristocratic family. Neeli’s son Mohan (Master Vipin) is brought up by the postman. The film ends with Sreedharan Nair and Nalini accepting the boy as their own child.

Sathyan and Miss Kumari excelled in their roles. The rustic slang used gave a realistic touch to the characters.

The film won the President’s silver medal in 1954. What makes this honour special is that Neelakuyil was a venture by relatively newcomers to his field. When the two other national award winning South Indian films were produced by established banners, directed by eminent directors, music composed by well known music directors and enacted by the matinee idols of that time, Neelakuyil was made by newly formed production house, directed by newcomers, music by a new composer and had relatively inexperienced actors.

There were nine songs in the film. Most of them were based on folk tunes. The music completely dispensed with the then prevailing trend of imitation of popular tunes. All the songs became super hits. ‘Ellarun chollanu ellarum chollanu...’ (Janamma David), ‘Kayalarikaathu vala erinjappol...’ (K.Raghavan) became most popular among the songs. Raghavan’s song is considered the first successful Mappila song in Malayalam cinema. A solo by Shantha P. Nair based on Bilahari Raga ‘Unarunaroo Unnikanna...’ is still one of the best devotional songs in the language. Compositions of Tyagaraja had found a place in Malayalam cinema before Neelakkuyil. But in this film there was a song based on a Tyagaraja composition - ‘Sarasa sama daana bheda... (Kaapi Narayani raga) . ‘Kadalasu vanchi aeri...’ a children’s song by Kozhikode Pushpa, ‘Maanennum vilikkilla...’ by Mehaboob), ‘Kuyilinie thedi...’ by Janamma David turned huge hits. Kozhikode Abdul Khader’s ‘Engine nee marakkum...’ in that typical K. L. Saigal style of singing still remains a much sought after melody. The simple lyrics by P. Bhaskaran and sensitive music by K. Raghavan made these songs immortal.

Will be remembered: As the first Malayalam film to win National recognition. As the debut of Ramu Kariat, P. Bhaskaran, actress Prema, Master Vipin (now popular cinematographer Vipin Mohan), music director K. Raghavan and many others who worked in the project. The film is also the first individual effort of cinematographer Vincent. And, of course, for the lovely songs.

Achan (1952)

THUMPING HIT B. S. Saroja and Prem Nazir in ‘Achan’

This film is one of the early hits produced by Kunchacko and the first produced under the banner of XL Productions, which went on to create several box office hits in sixties and seventies. Released on Christmas Eve the film ran to packed houses at all the centres for many weeks.

The film focussed on a father’s unreserved love and affection for his children. The major success of the film paved way for its Tamil version, ‘Thanthai (1953) and Telugu version ‘Thanri’ (1953). Both the dubbed versions were huge hits. The story of the film proceeds through several strange twists and turns which was a common feature of the South Indian films of that time. The film included all the factors of an entertainer, melodrama, romance, dances, comic scenes etc. There were stage dramas, ‘kathaprasangam’ dances and melodious songs. The dialogues penned by Thikkurissi Sukumaran Nair were precise. Unlike dialogues of the time, which were usually lengthy, those in this film were an exception.

The story revolved around a family. Chandran (Prem Nazir) and Balan (Gopinath) are showered love and affection by their father (Thikkurissi) and stepmother (Jayasree). But Chandran does not realise the value of this and grows into a bad boy. The fancy he takes to a street girl in his childhood transforms into a love affair later.

The girl Usha (B.S.Saroja) works as an artiste in a drama troupe owned by Nanukuttan (Sesbastian Kunjukunju Bhagavathar). Chandran marries Usha much against the wish of his father. He goes on to lead an extravagant life, gets into the company of a city rogue Mathu (S.P.Pillai) and his group.

Chandran’s father, very considerate, accepts his son despite his wild escapades and misdeeds. But Chandran still does not realise the value of his father’s affection. He demands his share of the ancestral property and his father accedes to this demand.

A drama troupe set up by Chandran flops and he all the money he put into it goes down the drain. To recover from this setback, Chandran contests in the Assembly elections but fails here too. Bankrupt Chandran becomes desperate. Meanwhile, Usha gives birth to a baby boy. But all these changes in life do not transform Chandran or his attitude towards his father. He even becomes suspicious of Usha and leaves home with his son.

This proves to be the turning point. Chandran struggles to bring up his son. He now realises the worth of his father, his love and of course value of money. He returns home and falls at the feet of his father. The father, who never carried any sort of hatred for his son accepts him.

Thikkurissi’s outstanding performance was one of the highpoints of the film. This was the only film in which veteran actor Sesbastian Kunjukunju Bhagavatahar did a comic role.

There were 17 songs in the film. Some of the songs became super hits. The most popular of them was ‘Ambili ammava thirinju nin anpinodonnu chollu ...’ sung by Thiruvananthapuram V. Lakshmi. This remains the only solo rendered by her. Later on she was heard as part of the chorus in several films. The other hits include ‘Naame mudhalali namakkini...,’ ‘Madhuram madhuramee jeevitham...’ (P. Leela), ‘Madhumasa chandrikayay...’ (A.M.Raja, P.Leela). A kathaprasangam by Pankajavalli, which also became very popular. Will be remembered: As one of the major box office hits of early Malayalam cinema. It will be remembered as the debut of Boban Kunchacko, the maiden venture of XL Productions, and first film of Thiruvananthapuram V. Lakshmi.

Sasidharan (1950)

ENTERTAINER Kottarakara Sreedharan Nair and S. P. Pillai from the film

The early period of Indian cinema saw several successful musical plays turned into films. This happened in the South also. Very successful Tamil films like ‘Dumbachari’ (1935), ‘Menaka’, ‘Pathi Bhakti’, ‘Chandrakantha’ (1936) etc. were celluloid versions of successful stage plays of the same title.

‘Sashidharan’ produced by Swami Narayanan, was the first Malayalam play to be adapted to the screen. This was the exact filmy version of the popular play ‘Sashidharan B.A.’ or ‘Premavaichithryam’ authored by N. P.Chellappan Nair. This social drama, rich in music, was staged by prominent drama troupes. The famous stage actors Vaikom Vasudevan Nair and Thankam Vasudsevan Nair immortalised the songs and sequences of this play.

However, the film was not as successful as the play. Perhaps the memories of the play had not faded out and naturally comparisons were made. This film paved way for the entry for many artists of which with Aranmula Ponnamma being the most prominent of them. Interestingly, Aranmulla Ponnamma, the archetypal ‘good’ mother began her career in this film emoting a negative role. She made an impact as a greedy mother.

Sashidharan (P. K.Vikraman Nair), the graduate son of the landlord Panikker (Thumpamon Padmanabhan Kutty) falls in love with Vilasini (Miss Kumari), the daughter of a poor widow Kalyani Amma (Aranmula Ponnamma). A crooked local newspaper editor (N. P. Chellappan Naiar) and the lecherous city wastrel Rajasekharan (Kottarakara) form a tricky plot turning Panikker against his sons wish to marry Vilasini. Sashidharan’s firm resolve forces Panikker to expel his son from the house. Kalyani Amma rejects Sashidharan’s proposal and he s forced to take to the street.

He seeks employment in Malaya with the help of his friend Madhu (Vaikom Mani). Here Sashidharan rises as the leader of the labourers and gains power and fame. Indubala, the daughter of a rich estate owner, takes a liking for him.

Sashidharan returns home after a few years. Here he is shocked to find that Vilasini is married to Rajasekharan. The false news of his Sashidharan’s death in Malaya was actually the handiwork of Rajasekharan with the help of the newspaper editor and Vilasini’s mother.

Sashidharan learns that the money he had sent from Malaya had been taken away by Rajasekharan. Vilasini’s marrriage is miserable.

One night Vilasini manages to meet Sashidharan. Rajasekharan, who gains wind of this, shoots down Vilasini. Sashidharan is arrested on the false charge of murdering his former love. In the meanwhile, Indubala, whose father dies, comes in search of Sashidharan. She helps in clearing the charges against him. The villains are arrested and Sashidharan marries Indubala.

The film had all the ingredients of an entertainer. It had a love story, high melodrama, comedy, fights and 14 songs.

Most of the songs were imitations of Hindi tunes. The song ‘Neeyen chandraney, njaan nin chandrika…’ (Vaikom Mani-Kaviyoor Revamma) was an exact lift of the Naushad hit ‘Too mere chand, mein teri chandni…’ from the Hindi film ‘Dillagi.’ Though the lyrics and tune were imitations of the Hindi songs this duet became an all-time hit. Two other songs, a comedy number by Kalinga Rao and Mohan Kumari, ‘Kanney naanam kollathey...’ and a solo by Revamma, ‘Anandamey, anandamey...’ also became popular.

Will be remembered: As the first Malayalam film adaptation of a popular stage play. Also as the debut film of music director P. Kalinga Rao, first Malayalam film of director T. Janakiram, Aranmula Ponnamma, S. P. Pillai, N. P. Chellappan Nair, Kaviyoor Revamma, P. Mohankumari, and lyricist Thumpamon Padmanabhankutty.

Bhakthakuchela (1961)

C. S. R. Anjaneyalu, Thikkurissi Sukumaran Nair, Kottarakkara Sreedharan Nair, Kantha Rao, T. K. Balachandran, Jos Prakash, Miss Kumari, Ambika, Shanthi, Kusalakumari, Aranmula Ponnamma, Baby Vinodini

TRAILBLAZER C.S.R. Anjaneyalu as Kuchela in the trendsetting film

This was the first big mythological by director P. Subramaniam. The success of this film inspired him and his production house to make more films of this genre.

‘Bhakta Kuchela’ was an unusual collaboration between a Malayalam producer and an array of Telugu-Tamil film stars. The key roles were handled by Telugu actors. The success of this film encouraged Malayalam producers to invite Telugu and Tamil stars, noted for their mythological roles, to act in their films of similar themes.

This film was released on November 9, 1961. On November 18, Udaya Studios released their Kuchela story under the title ‘Krishna Kuchela,’ with Malayalam film stars cast in key roles. But this film, directed by Kunchacko, bombed. The presence of Prem Nazir as Krishna, T S Muthiah as Kuchela and KPAC Sulochana as Kuchela’s wife simply failed to attract viewers to the theatres.

Subramaniam’s film told, apart from the main story of the friendship between Krishna and Kuchela, a few sequences from the Bhagavatha. It tells about sage Sandipani’s hermitage where Krishna and Kuchela are students and close friends. The difference in social status, caste or creed does not come in the way of their friendship. After leaving the hermitage they lose contact with each other. Krishna becomes the king of Dwaraka, while Kuchela struggles to make ends meet with a huge family. His worship of Krishna causes enmity with the king Sisupala. As requested by his wife Suseela, Kuchela decides to visit his old friend. For him it was a chance to renew their friendship than asking for assistance. Kuchela gets a warm welcome at Dwaraka but forgets to ask what he actually wanted. To his astonishment Krishna sends him back empty handed. But when Kuchela returns home he finds that his modest hut has miraculously been turned into a palace. The Lord had showered prosperity on his family even without asking for it.

The film included some sequences which one may not find in versions of the Bhagavatha. For example, when Krishna leaves the hermitage after studies the grief-stricken Kuchela runs after Krishna and falls down a mountain peak but is saved by his friend. This song sequence, ‘Karuna aarna deva Gopala...’ (A. P. Komala) was an added attraction.

Another attraction of the film was the brilliant performance of the Telugu singing star C. S. R. Anjaneyalu as Kuchela. CSR, as he was affectionately known, was noted for his mythological roles. His performance in the film has been compared to that of Papanasam Sivan, as Kuchela, in the Tamil hit ‘Kuchela’ (1936).

Miss Kumari as Kuchela’s wife Suseela virtually made the audience weep. Other Telugu stars, Kantha Rao as Krishna and Kusalakumari as Devaki also did well. Thikkurissi as Kamsa, Kottarakkara as Sisupala, T. K. Balachandran as Narada, Aranmula Ponnamma as Yashoda, and Baby Vinodini as the child Krishna were also impressive. Ambika and Shanthi as the consorts of Krishna added star value to the film.

An advertisement technique adopted for this film was distribution of small packets of ‘avil’ (beaten rice) along with the notices of the film. The film ran to packed theatres for many weeks in all centres.

‘Bhakta Kuchela’ had 15 songs penned by Thirunainar Kurichi Madhavan Nair and music composed by Brother Lakshmanan. Most of the songs were based on classical music. The hit solo by Kamukara Purushothaman, ‘Ishwara chinthaithonne manujanu...’ has stood the test of time, a favourite even today. The other songs like ‘Naale naale ennayittu...’ (Purushothaman), ‘Maya Madhava Gopala... (P. Leela-Purushothaman), ‘Karuna aarna deva Gopala...’ and ‘Kanna thamarakanna…’ (A. P. Komala) were all super hits.

Will be remembered: This film inspired Malayalam film producers to go in for big budget mythological movies. It will be remembered for the brilliant performance of C. S. R. Anjaneyalu, Miss Kumari and others. And also for the super hit songs like ‘Ishwara chintha ithonne...,’ ‘Naale naale ennayittu...’ and ‘Maya Madhava Gopala...’

Jeevithanouka (1951)

Sebastian Kunjukunju Bhagavathar, Thikkurissi, S. P. Pillai, Nanukuttan, Muthukulam Raghavan Pillai, Adhimoolam, B. S. Saroja, Pankajavalli

HIT MACHINE B. S. Saroja in the first Malayalam mega hit

‘Jeevithan Nauka’ is considered the first Malayalam ‘mega hit’ film. It was simultaneously shot in Tamil and Telugu. The success of the different versions prompted the producers to dub the film in Hindi as ‘Jeevan Nauka’ (1952). The Hindi version also did well.

The film portrayed the life of simple folk in a small village in Kerala. The treatment is simple, straightforward and objective. At a time when most south Indian films told stories of kings and gods, ‘Jeevitha Nauka’ spoke of human sufferings. This was a new experience.

Soman (Thikkurissi) is brought up by his elder brother Raju (Sebastian Kunjukunju Bhagavthar) and his shrewish wife Janu (Pankajavalli). Soman is in love with Lakshmi (B. S. Saroja), the daughter of a poor village performer Kaniyan (Adhimoolam) who belongs to a lower caste. Raju, employed by the zamindar (Nanukuttan) and Janu resent the inter-caste marriage between Soman and Lakshmi.

Lakshmi gives birth to a son and in the meanwhile Soman goes to the city in search of job. Lakshmi who is left behind in the village faces harassment at the hands of the villagers. In the city, Soman is hit by a car driven by a rich young woman who takes him home and also employs him as the manager of her estate. Janu starts receiving Soman’s letters and remittances which start arriving. Janu does this by impersonating Lakshmi with the connivance of her brother Shanku (S.P.Pillai).

Meanwhile Lakshmi leaves the village in search of Soman. During her wanderings Lakshmi sees her husband with a woman and suspects him of being disloyal. The young woman is none other than his employer. Lakshmi tries to kill her child and commit suicide but what saves her is the instinct of motherhood. Lakshmi gets together a band of beggars and organises a home for them. She uses her talent as an actress and collects funds for the home by staging plays. Back in the village life turns its tables on Raju and Janu, while her brother Shanku is killed. The real culprits, the zamindar’s advocate and his group of people mislead the police implicating Soman in the murder. During one her plays, Lakshmi recognises her husband who is about to be arrested on the trumped up charge. Explanations follow and Soman is absolved of the false charge and the couple are reunited. Raju is helped out by Soman. Janu who has now become a beggar is recognised by Lakshmi. Regardless of what has happened in the past, Lakshmi takes Janu home. And all ends well.

There were 14 songs in the film. Music by Dakshinamoorthy followed the then prevailing trend of imitating popular Hindi tunes. Mehboob entered the cinema world by singing for this film. Though an imitation of the Mohammed Rafi song from the Hindi film ‘Dulari’ (1949) ‘Suhani raat dhal chuki…’ (Naushad), the soulful rendering by Mehboob made the song ‘Akaale aarum kaividum…..’ memorable. Other songs like, ‘Aaanandamiyalum bale….’ (P. Leela) , ‘Thoraathasru dhaara….’ (Revamma), imitations of tunes from ‘Barsaat’ (1949, Shanker-Jaikishen) failed to impress. A duet, ‘Aanathalayolam venna tharameda…’ sung by Sebastian Kunjukunju Bhagavathar and Alappuzha Pushpam, father and daughter, in real life, became a super hit.

Will be remembered: Noted singer Mehboob made his film debut in this film. It will also be remembered for the songs, ‘Aanathalayolam venna tharameda…’ (Bhagavathar, Pushpam) and ‘Vana gayike vinnil varoo nayike...’ (P. Leela, Mehboob).

B. VIJAYAKUMAR

Randidangazhi (1958)

P. J. Antony, T. S. Muthiah, Thikkurissi, Kottarakkara, JAR Anand, Miss Kumari, Adoor Pankajam

LANDMARK ‘Randidangazhi’ celebrates its Golden Jubilee this month, this year

The film was an adaptation of a novel of the same title by Thakazhi Sivasankara Pillai. A seminal political movie set among the conditions of bonded labour in the Kuttanad, the film was dominated by its script and dialogues, written by the novelist himself. The genre was akin to many of the stage plays of the KPAC, the famous drama group. The music by Brother Lakshmanan was influenced by the style propagated by India Peoples Theatre Association (IPTA).

The film released on August 24, 1958, celebrates its Golden Jubilee this month.

Chirutha (Miss Kumari) is the beautiful daughter of a peasant Ittitharakali. Her avaricious father wants to marry her off to the first person who can provide the penpanam’ or a sort of dowry system that prevailed in the community. Koran (P. J. Antony) and Chathan (T. S. Muthiah), two peasants are in love with Chirutha. Chirutha has a soft corner for Koran who decides to sell himself to the local landlord for a loan. Using this loan money Koran pays the ‘penpanam’ and wins Chirutha’s hand in marriage. A dispute arises during the marriage. The landlord demands ‘Thampran panam,’ a tax levied by the landlords at the time of marriage from their tenants, especially lower cast tenants. Chathan stands by Koran here.

Koran and Chirutha move to the neighbouring village, work in the paddy fields, and lead a happy life. Ouseph, the landlord here, is a cruel bigot who exploits his labourers terribly. Koran protests against this. He organises the labourers and forms a union to protect their rights. For this he has to pay a huge penalty. Koran is whipped by the landlord. He turns a revolutionary, organises protests against the landlord that also includes a strike in the fields.

Koran also brings to light the shady deals of the landlord. These incidents make Koran a sort of rebel. The landlord hatches a conspiracy against Koran and the peasant leader falls into the trap. He is implicated of charges of theft. Fearing police arrest Koran flees the place. Chacko, the landlord’s son, attempts to molest Chirutha but is foiled by timely arrival of Koran. In the ensuing struggle he strangles Chacko to death. Before Koran is arrested and sentenced to 10 years rigorous imprisonment, he hands a pregnant Chirutha to Chathan, his intimate friend, and who always nursed a silent love for her. Chathan looks after her like his own sister till Koran is released from jail.

One of the attractions of the film were the dialogues penned by Thakazhi. The film projected the evils of the feudal system that prevailed in the State, especially in areas like Kuttanad.

The film had nine songs. Most of them became popular. Stage actress KPAC Sulochana made her playback debut in this film. One of her duets, with Kamukara Purushothaman, ‘Thumbappoo peyyana poonilave...,’ has stood the test of time. Her solo, ‘Poomazha peythallo...’ also became a huge hit.

Will be remembered: One of the most talented actors of Indian cinema, P. J. Antony made his debut in this film. The film will also be remembered for its super hit songs. It was also the first film to project the evils of the feudal system that prevailed in Kerala then.