Krishna Kuchela (1961)

Popular film companies and producers have always been engaged in a fierce competition. The result has been some excellent social, historical, action movies. In some cases films with the same plot or concept have been made and released almost simultaneously. There are also instances where movies flopped as a result of this competition.

Take the case of the Tamil films ‘Gnana Soundari' (1948). Two films, with the same title and storyline, one produced by Gemini Films, with M. K. Radha and V. S. Suseela in the lead roles and the other by Citadel Films that had T. R. Mahalingam and M. V. Rajamma in the lead roles. These films were released within a month of each other. While the Gemini film flopped the Citadel version became a runaway hit, a classic.

The Malayalam film ‘Krishna Kuchela,' produced by Udaya Studios,' and ‘Bhakta Kuchela,' produced by Neela Productions', had the same Bhagavatha story of Krishna and his childhood friend Kuchela. ‘Bhakta Kuchela' was released on November 9, 1961, and ‘Krishna Kuchela' on November 18, 1961. The Neela film, directed by P. Subramaniam, was a huge hit, whereas ‘Krishna Kuchela' failed miserably.

The Telugu film ‘Krishna Kuchela,' released on June 6, 1961, was the inspiration behind the production of the two Malayalam versions. This Telugu film, directed by C. Narayanamoorthy, was a crowd puller and is considered as one of the best mythological films in the language. Kuchela, played by C. S. R. Anjaneyalu, an actor noted for his mythological roles, came up with a brilliant performance. In fact, his role in the Neela production is widely believed to be the reason behind the film's success. The role of Krishna was played by another popular Telugu star, Kantha Rao. ‘Bhakta Kuchela' was an unusual collaboration between a Malayalam producer and an array of Telugu stars.

Directed by Kunchacko, ‘Krishna Kuchela' was shot at Udaya Studios. The dances choreographed by Hiralal and cinematography by T. N. Krishnankutty were commendable. The high point of the film was its music, which was composed by K. Raghavan.

Popular artists like Sathyan, Prem Nazir, T. S. Muthiah, Kottayam Chellappan, Ragini, B. S. Saroja, and KPAC Sulochana were cast in important roles. Apart from the popular story a few sequences from the Bhagavatha, like the birth of Krishna, Radha's love and devotion towards Krishna, enmity with Sisupala, slaying of Kamsa etc. were included as a sub-plot.

The competition between these two films was apparent in music and advertisement techniques. The distinctive numbers of the 78 rpm gramophone records of the songs indicate that they were released the same day or same week. Along with the publicity notices of ‘Bhakta Kuchela', especially in the theatres, ‘aval' or beaten rice was distributed in small packets wrapped in the publicity notice itself. Not to be left behind the publicity material of ‘Krishna Kuchela' were sent to houses along with ‘aval kizhi' or beaten rice packed in a small piece of cloth.

The songs in both the films were good. In this case, however, ‘Krishna Kuchela' scored. There were 22 songs in this film. Written by P. Bhaskaran and tuned by K. Raghavan some of them like ‘Omanakuttan Govindan…' (Shanta P. Nair), ‘Marayalle mayalle Radhey…' (K. Raghavan), ‘Umma nalkuthengineyamma…' (P. Susheela) and ‘Varnippathengine nin…' (M. L. Vasanthakumari-P.Leela) turned hugely popular.

Will be remembered:‘Krishna Kuchela' did not do well at the box office but it will be remembered as one of the two films with the same story, produced at the same time, which was the first instance in Malayalam cinema. It will also be remembered for its good music.

Sheelavathi (1967)

Stories from Hindu religious texts were a favourite subject for Indian cinema right from the beginning. Most of the silent and sound films produced with such themes were successful at the box office. Silent films like ‘Mahasati Anasuya' (1921), ‘Sukanya Savithri' (1922) and sound films of the early period ‘Sati Ahalya' (Tamil-1937), ‘Sati Sulochana' (Kannada-1934), ‘Savithri' (Hindi-1937) are a few examples.

Sheelavathi is a name that appears in several Hindu texts. A chaste woman and a dutiful wife, she is not one of the five Sati's (Savithri, Sita, Draupadi, Anasuya and Mandodari) mentioned in Hindu Puranas and Upanishads.

Sheelavathi is so popular that a phrase has been coined that is often used to refer to a chaste woman or dutiful wife.

‘Sheelavathi Naalu Vrutham' , a poetic work, believed to be authored by Kunjan Nambiar, that tells the story of the ‘ideal' woman, was first published in 1874. The same story was written and performed by Nambiar as ‘Ottanthullal', a folk art popularised by him.

The Malayalam film ‘Sheelavathi' (1967) was probably the first Indian movie that told this story on screen. Produced under the banner of Aries Films and directed by P. B. Unni, the film was not successful. The high point of the film was the music by G. Devarajan.

Sheelavathi (K. R. Vijaya) and Ugrathapas (Sathyan) students and inmates at the hermitage of sage Athri (P. J. Antony) fall in love. They get married after they complete their Vedic lessons. Ugrathapas establishes his own Vedic school. The couple leads a happy family life. Lord Shiva and Parvathi subject Sheelavathi to a test of character.

Ugrathapas contracts leprosy. He tortures Sheelavathi for no fault of hers. The chaste and dutiful wife, Sheelavathi, runs the household by begging, makes no complaint and nurses her husband sincerely. One day Ugrathapas orders his wife to take him to the mansion of the courtesan (Vijayalalitha).

While carrying her husband in a basket on her head Ugrathapas's leg strikes Sage Mandavya's (Kottayam Chellappan) head. The sage curses Ugrathapas saying that he will die at the next sunrise.

To save her husband's life, Sheelavathi starts a penance. She pleads to the Sun not to rise the next morning and it does not. This is the power that the dutiful and chaste acquires in the story. She is now able to control the natural forces. The sun does not rise; the universe comes to a halt. Anasuya (T. R. Omana), the consort of Sage Athri appears before Sheelavathi and requests her to withdraw her penance. And she does so. Ugrathapas dies only to be brought back to life by the blessings of the Trinity. Sheelavathi's character is proved beyond doubt.

The nine songs written by P. Bhaskaran were set to tune by Devarajan.

The romantic duet ‘Valkalamooriya vasantha yamini…' (K. J. Yesudas- P. Susheela), and ‘Surabhi maasam vannallo…' (S. Janaki and chorus) became instant hits. The other hits include ‘Chirichu kondodi nadakkum…', and ‘Muttathu prathyusha deepam…' (Janaki). A devotional, ‘Om Saraswathim namami…' was rendered by Devarajan, along with P. B. Sreenivas and Yesudas.

Will be remembered:As the first Indian film to narrate the story of Sheelavathi. And for its music.

Kunjali Marakkar (1967)

Banner : Chandratara Productions

Producer : T K Pareekutty

Director: SS Rajan

Story/Dialogues: K Padmanabhan Nair

Lyrics: P Bhaskaran

Music: Chidambaranath

Star cast: Kottarakkara, Prem Nazir, Premji , S P Pillai, P J Antuny, Satyapal, Jyothilakshmi, P K Saraswwathi, Sukumari etc

‘Kunjali Marakkar' tells the story of the legendary 16th century naval captain. The life and times of martyrs and freedom fighters caught the attention of Indian cinema from its early period. But filming of such stories was not possible during British rule. Before Independence, the Censor Board had banned a Tamil social film, ‘Thyagabhoomi' (1939) directed by K. Subrahmaniam on charges that the film contained dialogues and sequences that went against the British. The Malayalam film ‘Veluthambi Dalava' (1962) that falls in this genre was not as successful as ‘Kunjali Marakkar.'

Many historical films, in various languages, were made after Independence. And most of them focused on the lives of martyrs and freedom fighters. They became the subject of Hindi like ‘Padmini' (1948), and ‘Jhansi Ki Rani' (1953); Tamil films like ‘Veera Pandya Kattabomman' (1959) and ‘Kappalottiya Thamizhan' (1961).

‘Kunjali Marakkar,' produced by T. K. Pareekutty and directed by S. S. Rajan was shot at Satya and Syamala Studios, Chennai. The film was edited by G. Venkitaraman, story and dialogues were by K. Padmanabhan Nair and fights directed by R. N. Nambiar. Kottarakkara Sreedharan Nair, Prem Nazir, P. J. Antony, Kottayam Chellappan, Sukumari etc. played important roles in the film. Playback singer P. Jayachandran made his film debut in this film, though his songs in ‘Kalithozhan' (1966) were released first. The music, composed by B. A. Chidambaranath, was a high point of the film.

The Portuguese dominated trade in the Malabar after Vasco da Gama set foot in Kozhikode. The Samoodiri of Kozhikode (Premji) opposed the Portuguese. But the foreigners were supported by the local merchants and the Samoodiri's wicked nephew (P. J. Antony). Mohammed (Kottarakkara), a brave warrior and merchant supported the Samoodiri in his fight against the Portuguese. The Samoodiri honoured Mohammed by making him his naval chief and renaming him ‘Kunjali Marakkar'.

The Chief Minister Mangattachan's niece is in love with Poovalappil Nanu (Prem Nazir), a warrior-merchant. Rumours are spread that Nanu is killed by the Portuguese. Meanwhile, the Portuguese, with the support of the local traders and king's nephew try all their wicked tricks to capture Kozhikode and even to murder the Samoodiri. But Marakkar's timely intervention saves the country and the king. Nanu goes to Kochi and gets into the Portuguese troop and even manages to become one of their captains.

To save his people from Portuguese attacks, Samoodiri accedes to their request to build a fort in Kozhikode. Another fort is built at Kottakkal. When the land is attacked by forces from the sea, Marakkar stands up to them and staves off the attempted invasion. Nanu, in disguise as Antonio, captain of the Portuguese, takes charge of Kozhikode Fort. He lends secret support to Marakkar. But with the support of some local merchants and landlords, the Portuguese succeed in capturing Marakkar and killing him.

The film revolved around the brilliant acting of Kottarakkara in what must be one of his best roles. Premji also stood out in his role as the Samoodiri. P. K. Saraswathi, heroine of early Malayalam and Tamil cinema, made a comeback in this film. She played the role of the queen. Jyothilakshmi also impressed in the romantic role.

Music was one of the main attractions. There were six songs written by P. Bhaskaran and set to tune by Chidambaranath. A solo by K. J. Yesudas ‘Udikkunna sooryane…,' the romantic numbers ‘Mullappoo malayumai…' (P. Jayachandran), and ‘Muttathu pookana…' (P. Leela) were the most popular of them. Other hits include the devotional by S. Janaki, ‘Neeyallathaarundu abhayam…', and ‘Aattinakkare…' (Yesudas, Vasantha, Kamala).

Will be remembered:As the debut film of playback singer P. Jayachandran, for its good music and a stand out performance by Kottarakkara.

Release of Timeless Melodies by Yesudas

@ Press Club, Kochi on Saturday July 16th

Koottukaar (1966)

‘Koottukar' is considered the first Malayalam film with communal harmony as the main plot. Earlier films like ‘Moodupadam' (1963) used this subject as a sub-plot.

V. Shantaram produced the classic film ‘Shejari' (Marathi)/ ‘Padosi' (Hindi) in 1941, both based on this subject. The story was written by the noted Marathi author Vishram Bedekar. ‘Koottukar' adapted the story of Shantaram's classic film with some changes.

Produced by A. K. Balasubramaniam under the banner of Saravanabhava the Malayalam adaptation failed to impress.

The Shantaram film was screened at the Canadian National Film Exhibition at Toronto in 1947 and also went on to win honours at various film festivals.

A multi-starrer, the film had Sathyan, Prem Nazir, Thikkurissi, Kottarakkara, S. P. Pillai, Manavalan Joseph, Ambika, Sheela, Aranmula Ponnamma among others.

The film was directed by Sasikumar, dialogues by P. J. Antony and music by M. S. Baburaj.

Raman Nair (Thikkurissi) and Mammootty (Kottarakkara) are close friends. Mammootty has lost a leg in a coal mine accident. The two families are very close, a perfect example of communal harmony.

Rahim (Prem Nazir) and Kadeeja (Ambika), the children of Mammootty are brought up by Kaathamma (Aranmula Ponnamma), wife of Raman Nair. And for Mammootty, a widower, Gopi (Sathyan) Raman Nair's son is like his own son.

Gopi is in love with Radha (Sheela), daughter of the village doctor (S. P. Pillai). He gets a job in the coal mine and leaves the village. The wicked Haji (Manavalan Joseph) attempts to molest Kadeeja, but Gopi intervenes in the nick of time and saves her. Haji spreads a false news that there is an illicit relationship between Gopi and Kadeeja. This causes a rift between the two families.

Rahim also gets a job in the coal mine. Here he has to face the rude behaviour of Gopi, his friend and now his superior officer. Rahim decides to take revenge and one night reaches Gopi's quarters armed with a knife. Here Rahim overhears Gopi requesting his superiors to promote Rahim. Rahim realises the true love of Gopi and they unite.

Kadeeja's marriage is fixed. Haji sets fire to Mammootty's house. Raman Nair jumps into the fire to save his friend Mammootty and both of them lose their lives. The film ends with the funeral scene of the two true friends.

Thikkurissi and Kottarakara excelled in their roles. But it did not match that of Gajanan Jagirdar and Mazhar Khan in the Hindi/Marathi film. Again the climax scene was one of the main attractions of the Shantaram classic. The two friends lose their lives when the dam in the village breaks. The fire in the Malayalam film failed to create that impact.

The six songs in the film were written by Vayalar Rama Varma and set to tune by Baburaj. The songs like ‘Asatho Ma sathgamaya…. Oru jaathi oru matham…' (K. J. Yesudas), and the duet ‘Kurumozhi mullappoo…' (Yesudas- S. Janaki) went on to become big hits. The other popular numbers include ‘Kannaadi koottile…' (P. Susheela), ‘No vacancy, no vacancy…' (Yesudas), ‘Nizhalukale nizhalukale…' (Yesudas), and ‘Veettilinnale vadakku ninnu…' (P Leela and chorus).

Will be remembered: As the first Malayalam film that focussed on the theme of communal harmony. Also for some of its memorable songs by Vayalar Rama Varma and M. S. Baburaj.

P Susheela's first malayalam song - Trivia

P Susheela

All know that the singer came to Malayalam cinema through Seetha (1960)

There are some indications, and nowhere documented facts, that led to the entry of the singer to Malayalam. Probably one lullaby sung by her in a Tamil flm paved the way for this. I have come across such references in the past - interviews, comments by music personalities etc. Once a media person asked me whether I remember any lullaby sung by Suseela in mid 1950s that made her famous. I could not recollect, because it was her early period. And quite amazingly recently I happened to listen to one of her early lullabies. The media persoan asked me about the lullaby, on the basis of his interview with the playback singer P Jayachandran who referred to this song, and that he did not remember the details of the song. I located the melodious lullaby. It is from the tamil film "Kanavane Kan Kanda Deivam". (1955). I remember to have come across comments on this song, and probably this song might have paved the way for her entry to Malayalam cinema. For the first song by her in Malayalam, a lullaby, "Paattu paadi..." resembles her tamil lullaby. In both the songs, the mother character 's imagination is about the bright future of her son/sons. In the Tamil film, Anjali Devi, the heroine abandoned in the forest and struggling with her infant son sings the song. In the Malayalam film, Seetha Devi sings the song, abandoned in the forest and given refuge by the Sage Valmiki.

Listen to the Tamil song and recollect your memories of the Malayalam lullaby.

Vijaykumar

Listen to the song here

Two long lost songs of Sthree Hrudayam

Documenting the history of Indian film music - a challenging task. Malayalam film music, more difficult .
Songs recorded, but not included in the film. Songs once released,, subsequently removed. And so on. No documentation of such happenings.

Here is an example Name of the film : Stree Hrudayam (1960)

Recently I got a 78 rpm gramaphone record of two songs from the film. And I am surprised to note that these songs are not there in the songs book of the film
But the record lable clearly indicate these songs as from the film "Stree Hrudayam"
For your listening, I am attaching the songs.
Gramaphone record - Columbia record No. GE 36026
One is a Kathakali padam - probably from "Uttara Swayamvaram" (as the text indicate) " Pranavallabha...." - LPR Varma, Tripura Sundari and Shanta.
(Nothing known about the singers Tripurasundari and Shantha)

Another song, Ashtapadi - "Chandana charchita,....." L P R Varma

The story indicate the possibility of these songs in the film. The heroine is daughter of a temple priest. Ashtapadi being a Sopana sangteetham number being sung traditionally in temples. Other one, Kathakali, a temple art, the Kathakali padam also possible in the film

Listen to the songs here

Chandana Charthitha
Pranavalabha