Jesus (1973)

Murali Das and OAK Thevar in the film

Hollywood films like Ten Commandments (1956), King of Kings (1961), The Bible – in the beginning… (1966) etc. were all box office hits in Kerala. Stories from the Bible and the life of Jesus Christ were a favourite subject for Malayalam plays.Life of Christ, presented as a musical opera (Sangeetha Natakam) in 1940’s by the Sanmarga Vilasam Natana Sabha, under the leadership of Artist P.J. Cherian, was staged throughout the State. In South Indian cinema, probably the song sequence in the Tamil film Gnanasoundari (1948) was the first attempt to present the life of Christ on screen. The song Nenjame nee anjaathey nam andavarey…. sung by P.G. Venkateshan was visualised with scenes from the life of Christ.

Malayalam films like Snapaka Yohannan (1963) also had the story of Jesus Christ as a sub-plot. The first film that exclusively featured the life of Christ in Malayalam was Jesus, released on December 21, 1973, just before Christmas. The film was a huge hit. The Tamil version was also a success.

Produced and directed by P.A. Thomas under the banner of Universal Pictures, the film was shot in colour at Gemini Studios. P.A. Thomas also wrote the script and dialogues. Editing by U. Rajagopal and cinematography by N. Karthikeyan was impressive. The film had music by four composers – M.S. Viswanathan, K.J. Yesudas, Alleppey Ranganath and Joseph Krishna.

Popular artistes like Thikkkurissi Sukumaran Nair, Jose Prakash, K.P. Ummer, Vincent, Rani Chandra, Khadeeja, Ushakumari from Malayalam and Gemini Ganeshan, Major Sundararajan, OAK Thevar , M.N. Nambiar , V.K. Ramaswami from Tamil essayed important roles. This was Jayalalitha’s debut Malayalam film and her dance sequence was a sensation.

The film looked at the life of Jesus Christ, from birth to resurrection, in a very concise manner. The special effects used in some of the scenes like Jesus (Murali Das) defeating the Satan (OAK Thevar), Snapaka Yohannan or John the Baptist (Gemini Ganeshan) baptising Jesus Christ; Jesus feeding 5,000 people with five loaves of bread; a leper being cured by the touch of Jesus; a dumb girl getting her power of speech, crucifixion and the resurrection of Christ were striking.

Murali Das as Jesus Christ, Gemini Ganeshan as John the Baptist, Thikkurissi Sukumaran Nair as King Herod, K. P. Ummer as Antipas excelled in their roles. Jayalalitha (Salomi), Usha Kumari (Mary Magdalene), Prameela (Martha), Jayabharathi (Veronica), M.N. Nambiar (Judas), Jose Prakash (Annas), Major Sundararajan (Pilathos), Vincent ( John the Apostle ), V.K. Ramaswami (Saint Peter), S.V. Ramadas ( Joseph), G.K. Pillai (Caiaphas) starred in significant roles.

The lyrics were penned by Vayalar Rama Varna, Bharanikkavu Sivakumar, Sreekumaran Thampi, P.Bhaskaran and Augustine Vanchimala. Some of the popular songs were Gagultha malakaley…(Bharanikkavu Sivakumar-music-singer K.J. Yesudas), Ente munthirichaarino… (P.Bhaskaran, music-M.S. Viswanathan, L.R. Easwari), and Osana Osana…(Lyrics-Augustine Vanchimala, music- Alleppey Ranganath, P. Jayachandran and K.P. Brahmanandan)

Will be remembered: As the first Malayalam film on life of Jesus Christ, as the only Malayalam in which Jayalalitha acted, and for the music,especially for the song Gagultha malakaley…

Puthiya Velicham (1979)

The concept of the anti-hero became a trend in Indian cinema with the unusual success of the Hindi film Kismet (1943) produced by Bombay Talkies. Ashok Kumar played a pickpocket in the film which was probably inspired by John Cromwell’s Algiers (1938). Premapaasam (Tamil, 1956), Bhale Ramudu (Telugu, 1956) and Kanaka Chilanka (Malayalam, 1966) were remakes of Kismet. Similar films with the anti-hero concept followed in various languages. O. P. Ralhan’sPhool Aur Patthar (1966) with Dharmendra in the lead, and its Tamil remake Oli Vilakku (1968) with MGR as the anti-hero were huge hits.

After nearly a decade the same story was remade in Malayalam as Puthiya Velicham, which was released on October 12, 1979. The unusual success of this action-packed film has been attributed to Jayan’s performance in the negative role.

Produced by Subramaniam Kumar for Sastha Productions, the film was directed by Sreekumaran Thampi, who also wrote the script, dialogues and lyrics. The colour film was shot at Vahini, Arunachalam, Prakash and Balaji Gardens. Cinematography by N.A. Thara, editing by Narayanan and music by Salil Chaudhary were commendable.

Jayan, Jose Prakash, Sankaradi, Jagathi Sreekumar, Sreevidya, Jayabharathi and Meena played significant roles in the film.

The story focussed on widow remarriage pivoting around the life of a thief. Circumstances force Venu (Jayan) to turn into a criminal. He falls prey to a blackmailer, Johnson (Jose Prakash) who uses his hotel as a cover for all his fraudulent activities. Venu is in love with Lilly (Jayabharathi) a dancer in this hotel.

Venu then meets Lakshmi (Sreevidya) in a mansion which he breaks into. A widow, Lakshmi has been locked up inside the mansion by her husband’s parents. Suffering from typhoid, Lakshmi is looked after by Venu. Timely medical care saves her life and she leaves the mansion.

Lakshmi’s in-laws, Panicker (Sankaradi) and Maheswari (Meena) return from Madras and find that their house has been looted. Lakshmi is accused of the crime. She is beaten up and her brother-in-law Balan (Vijay Raj) attempts to molest her. Venu reaches in time to save Lakshmi. And when she is thrown out of the house Venu gives her refuge. Lakshmi succeeds in reforming Venu. He begins to work as a labourer and promises Lakshmi that he would never go back to his criminal ways.

In his attempt to save a young girl from fire Venu sustains severe burn injuries. Lakshmi’s loving care brings him back to full health.

Now, Johnson sets a trap to bring Venu back to his fold. He sends his men to Lakshmi with the false news that Venu is injured in an accident. Lakshmi rushes to meet Venu but is accosted by Johsnon who attempts to rape her. She is saved by the timely intervention of Lilly. In the ensuing fight, Lilly is shot dead by Johnson. The police appear on the scene and arrest Johnson. The film ends with the marriage of Venu and Lakshmi.

The film made full use of Jayan’s macho image putting him through numerous fight sequences. Sreevidya also did well in her role.

Deviating from his usual character roles, Thikkurissi Sukumaran Nair as Lohithaksha Bhagavathar did full justice to his comic role. Jagathy Sreekumar as a pick pocket, ‘Parippuvada’ Kuttappan, Sreelatha as his lover and Poojappura Ravi as a doctor created moments of laughter.

The songs written by Sreekumaran Thampi and set to tune by Salil Chaudhary became hits. Most of them were repetitions of his Bengali film and non film tunes. Jhil jhil jhil chilampanangi…. (P.Jayachandran-P. Susheela) was a direct copy of the tune that he used for the Bengali film Pasher Bari (1953). Other songs like Aaraattu kadavil… (Jayachandran), Aaraaro swapnajalakam… (Ambili),Manasse nin ponnambalam…. (S. Janaki), Poovirinjallo athil… (K.J. Yesudas) turned very popular.

Will be remembered: A a good entertainer with a message on widow re-marriage; for Jayan’s performance and for its songs.

Devi Kanyakumari (1974)

Stories and legends behind the temples in India have been a staple source of themes for Indian cinema, especially in the South. Films on famous temples such as the Meenakshi temple at Madurai, Muruga temple at Pazhani, Balaji temple at Thirupathi, Ayyappa temple at Sabarimala, Sreekrishna temple at Guruvayoor etc were box office hits. Films were produced repeatedly on most of these temples. Malayalam film Devi Kanyakumari, released on August 30, 1974, was probably the only one produced exclusively on the presiding deity of the temple located in Kanyakumari in Tamil Nadu. A huge hit at the box office, its Tamil dubbed version was also successful.

Produced and directed by P. Subramaniam under the banner of “Neela Productions”, the film was shot in colour at Merryland Studios and in locations surrounding the Kanyakumari temple. Dialogues written by Nagavalli R. S. Kurup impressed the audience. Cinematography by U. Rajagopal with Masthan and editing by Gopalakrishnan were commendable. Dances choreographed by Thankappan were a highlight of the film. Music composed by Devarajan became popular.

Popular artists from Tamil/Telugu/Malayalam cinema like Gemini Ganeshan, Kantha Rao (as Vishnu), P. K. Abraham, Thikkurissi Sukumaran Nair, Sathar , T. K. Balachandran, Rajasree, Santhi, Adoor Bhavani and Kaviyoor Ponnamma acted in the film. Vinodini, who acted in early Malayalam films as child actress, was cast as the heroine—as the Goddess Devi Kanyakumari.

The legends about the temple and some miracles played by the Goddess in the lives of her devotees are presented as flash back to the traditional folk art “Villadichaan Paattu” (a form of musical discourse) performed by the team led by S. P. Pillai and Kedamangalam Sadanandan.

The legend behind the Kanyakumari Devi temple dates back to the Dwapara Yuga in the vedic age in Hindu scriptures when Sree Krishna was born. The well known story of Kamsa’s (Thikkurissi Sukumaran Nair) campaign to kill his nephew Sree Krishna, his slayer according to the prophecy, is narrated in brief. Kamsa comes to the prison to kill the child born to his sister Devaki (Rajasree) and Vasudeva (Gemini Ganeshan). However, Krishna was replaced by the girl born to Yashoda. When Kamsa attempted to kill the girl, who was incarnation of Parvathi Devi, she escapes from his fist and disappears. The girl grows up to be Kanyakumari (Vinodini) whose mission was slaying of the demon Banasura (P. K. Abraham) who conquered the heavens and who could be killed only by an adolescent girl by virtue of a boon. Kanyakumari chooses the coastal area at the southern end of India (Kanyakumari town) as her abode.

Kanyakumari has immense devotion towards Lord Siva and their marriage was fixed. Lord Siva’s marriage procession started from Sucheendram but the marriage did not take place since the bridegroom could not reach the wedding venue in time due to the trick played by Narada (T. K. Balachandran). Banasura proposes to marry Kanyakumari, but is rejected by her. The furious demon is slaughtered by Kanyakumari in the ensuing fight. Kanyakumari takes an oath never to marry and to remain a kanya (virgin) and she reigns as the presiding deity of the temple at Kanyakumari (town named in her honour), blessing her devotees.

Miracles played by the goddess in the lives of her devotees follow the story of the formation of the temple. The episode of Kanyakumari rescuing her devotee (Kaviyoor Ponnamma) who got locked up in the temple unknowingly and feeding her was impressive. The goddess blessed her devotee Dasan Pillai (S. P. Pillai) to conduct the marriage of his daughter by giving ornaments promised as dowry. The fisherman (Vanchiyoor Madhavan Nair) whose family used to provide the rope for hoisting the flag during temple festival was saved by Kanyakumari when he got into a whirlpool in the sea while fishing.

Vinodini (daughter of dance master Guru Gopinath) impressed the audience by her fine acting and dances. Probably this was her only film as the heroine. The natural beauty of Kanyakumari was captured by the expert camera work and was an attraction of the film.

Songs written by Vayalar Rama Varma and set to tune by Devarajan became timeless hits. Instant hits were “Sucheendranatha Swayamvaramangalya ….”, “Kanna, Aalilakkanna ….” (both by Madhuri), and “ Sakthimayam Sivasakthimayam ….”(Yesudas). Other hits include “ Neelambujakshimaare ….” (Suseela Chorus), “ Devi Kanyakumari ….” (Yesudas, chorus).

Remembered for

Being the only film that exclusively focused on Kanyakumari temple.

For the music, especially for “ Sucheendranatha ….” and “ Kanna, Aalilakanna ….” (by Madhuri)

Ponni (1976)

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  Music and a messageKamal Haasan and Lakshmi in a scene from the film

Prabhat Films, pioneers in Indian cinema, produced films with unusual themes. V. Shantaram’s Amrit Manthan (1934) talked about human and animal sacrifice, and Vishram Bedekar’s Lakharani (1945) that supported inter-tribal marriages were two such films from Prabhat. Ponni , released on September 3, 1976, was an unusual Malayalam film in that it portrayed on screen the life of adivasis or tribals of Attappadi. The film was based on a novel of the same title written by Malayattoor Ramakrishnan, first published in 1967. The novel was supposed to have been inspired by real life incidents at Attappadi, which the writer came across when he was posted as Sub-Collector, Ottappalam Revenue Sub-Division during 1959-1961.

Thoppil Bhasi, who directed the film, also wrote the script and dialogues. The dialogues, a mixture of Tamil and Malayalam with a smattering of Kannada was impressive. Produced by M.O. Joseph for Manjilas, the film was shot in forest areas of Palakkad and at Satya, Gemini, AVM, and Karpakam Studios. Balu Mahendra’s cinematography was outstanding and so too the editing of M.S. Mani. The dances choreographed by E. Madhavan were in sync with the adivasi folk traditions. And G. Devarajan made effective use of folk tunes for the songs.

The film opens with an Independence Day celebrations organised by the Sub-Collector (Janardanan) of the area and the participation of various tribal groups of the region. Ponni (Lakshmi) belonging to the Mudhuga tribe and Maran (Kamal Haasan) belonging to the Irula tribe who danced on the day are introduced to each other by the Sub-Collector. Ponni and Maran fall in love at the first sight even as they willingly pose for the media.

These two tribes are rivals, who follow separate faiths and traditions. The Independence Day photograph of Ponni and Maran are published in the newspapers next day. Chellan (Soman), a Mudhuga, is in love with Ponni, but she dislikes him. Ponni’s friend Maashi (Rajakumari) loves Chellan.

Tension and strained relations in the Mudhuga tribes is cleverly exploited by the landlords of the area. The tribals practice the ‘slash-and-burn’ cultivation method, which is resented by the landlords who needed the tribals as cheap labour. Ponni revolts against the attempts of the landlords to hamper their traditional agricultural activities. Maran also stands by Ponni.

The Ponni-Maran love affair is met with widespread animosity and opposition. News is spread that the mountain god and the powers of Nature will not be pleased with the inter-tribe relationship.

Hanuman (Paravur Bharathan), an tool in the hands of the landlords. He works for them against the tribals. The tribal chief (Muthukulam Raghavan Pillai) warns the Mudhugas that their settlement will be destroyed by natural calamities if Ponni marries Maran and she is banned from meeting Maran. Meanwhile, Ponni’s father Nanjan (Sankaradi) decides to marry her to Chellan. The police arrest Maran on false charges of holding firearms without a licence. Ponni meets the Sub-Collector and pleads with him to save Maran and manages to get him freed.

The Mudhuga priest Bomman (Adoor Bhasi), through the influence of the landlords and Hanuman, set a trap to kill Ponni. And Bomman makes a prediction that the tribal settlement will soon be destroyed by the anger of Jakkamma, the mountain goddess. Pretending to be possessed by the goddess, Bomman demands human sacrifice to appease the powers and save the tribe. Ponni is chosen for the sacrifice and arrangements are made for the ritual. Maran and Chellan reach the spot in time and save Ponni. The film draws to a happy ending, Maran and Chellan marrying Ponni and Mashi respectively.

In the novel, Ponni dies in an avalanche. The film deviates with a scene where the tribals vow to stop human sacrifice and encourage inter-tribe marriage, thereby given it a very positive twist.

Kamal Haasan and Adoor Bhasi excelled in their roles. The comic scenes involving Bahadur and Kunjan (as the Village Officer and his Assistant) created moments of riotous laughter.

The songs written by P.Bhaskaran and set to tune by Devarajan were all hits. Markazhiyil mallika poothaal … (K.J. Yesudas), Maamaramo poomaramo …. (P. Madhuri), Maattupongal makarappongal…(P. Jayachandran, P. Leela, Madhuri and chorus), Singarappenninte …. (Leela- Madhuri), Neeraattu Pongal neeraattu …(P.Susheela and chorus) have stood the test of time.

Will be remembered : As a film against social evils like animal and human sacrifice; for its music, especially for the song Margazhiyil mallika …

Valarthumrigangal (1981)

Special Arrangement

CIRCUS REALITIES Sukumaran and Madhavi from the film

TOPICS

cinema

Malayalam cinema

Valarthumrugangal, released on May 29, 1981, was based on a short story of the same title written by M.T. Vasudevan Nair which was first published in December, 1954. The story also won an award in a national-level competition conducted the magazine where it was published. In an interview the author had stated that the story was written after watching a circus show at Palakkad and understanding the hardships faced by the artistes. The film portrays the bitter side of life in a circus camp. Humans are just valarthumrugangal or pet animals, treated worse than the animals in a circus.

Produced by K.C. Joy for Priyadarshini Movies, and directed by Hariharan, the script, dialogues and songs were by M.T. Vasudevan Nair. Mention also should be made of Mehli Irani’s cinematography and editing by G. Venkitaraman.

Circus was the main theme of many earlier films like S.S. Vasan’s Tamil-Hindi bilingualChandralekha (1948), P.Bhaskaran’s Malayalam film Nair Pidicha Pulivaal (1958), and Raj Kapoor’s Mera Naam Joker (1970). But none of these films trained the camera on the lives of the circus artistes. Probably, Valarthumrugangalwas first film to do this.

Thikkurissi Sukumaran Nair, popular Tamil actor Nagesh, K.P. Ummer, Sukumaran, Ratheesh, Nandita Bose, Madhavi played important roles in the film. The music composed by M.B. Sreenivasan was impressive.

Kumaran (Balan K. Nair) the owner of a circus company was virtually thrown to the streets when his company was destroyed in a cyclone while performing in Nasik. He now earns a living by performing on the streets. Grand Malabar Circus, owned by Madhavan (Thikkurissi Sukumaran Nair), who once worked with Kumaran in a circus company, sets up camp in the city where Kumaran now performs. Some members of Kumaran’s group, Nanu (Nagesh), Lakshmi (Nandita Bose), Janu (Madhavi) and Chandran (Ratheesh) join Grand Malabar Circus.

Janu and Chandran were children when they joined the Circus company. Lakshmi was degraded as a “helper” when she crossed her youth. Janu became an efficient trapeze artist and became the “Star” of the Circus Company. Madhavan’s nephew Gopi (K P Ummer) takes charge of the Circus Company when Madhavan leaves to the native place. Lakshmi dies of prolonged illness and lack of proper medical care. Kumaran and Nanu leaves the Circus Company unable to withstand the discrimination and humiliation by the management.

One day Gopi attempts to molest Janu . Chandran saves Janu and Gopi is beaten by him severely. Chandran is dismissed from the job and he leaves the Company. Chandran who was in love with Janu invites her to accompany him, but she stays back.

The newly joined Bike rider Bhaskaran (Sukumaran) is fascinated by Janu and slowly she falls in love with him. He raises voice against exploitation of the artists in the Company and fights for better work conditions. But the fate was cruel. Bhaskaran dies in a simulated accident while performing “Jeep Jump” in the Circus show . Janu becomes “helpless” , nobody to support her, protect her . Unable to resist, she surrenders to Gopi’s desires. Chandran comes back to take her with him. Janu who is “spoiled” now, refuses to go with Chandran who was once her sincere lover. Janu loses her mental balance. She falls down from the trapeze while performing the show and breaks her arm . Janu who was once the “Star” performer of the Circus Company is now degraded as “Helper” since she is unable to perform. Janu leaves the Circus Company. She joins the ‘Street Circus “ that Kumaran and Nanu were performing in the streets.

Madhavi, Balan K Nair and Nagesh excelled in their roles. Madhavi won the Kerala State Film award for the best supporting actress. The film dispensed with usual hilarious comedy scenes. The bleak melodrama failed at the box office.

This is one and the only film for which M T Vasudevan Nair wrote songs. M B Sreeenivasan composed music. “Kaakkaalan Kaliyachan…. “ (Yesudas) and “ Shubha Rathri Shubha Rathri….. “ (Yesudas) became popular. Other hits include “ Orumuri Kannadiyilonnu…. “ (Janaki) and “ Karmathin Paathakal… “ (Yesudas).

Why remembered:

A realistic story of the life in a circus camp.

One and the only film for which M T Vasudevan Nair wrote songs.

Kerala State Film Award for the best supporting actress (Madhavi).

Kallichellamma (1969)

Special Arrangement

Life on the coast Sheela in a still from the film

G. Vivekanandan’s novels portrayed life in the backdrop of rural Kerala. One of his worksKallichellamma, first published in 1956 was a bestseller. This novel was made into a film with the same title and released on August 22, 1969. The story focused on the life of tapioca farmers and vendors settled in a seashore village near Kovalam in Thiruvananthapuram district. The film, like the novel, was a perfect adaptation of the mannerisms of these people, their slang, and their lifestyle. This was the first Malayalam film to be shot in Orwo Color, and probably the first of its kind in Indian cinema.

Produced by Shobhana Parameswaran Nair for Roopavani and directed by P.Bhaskaran, the film was shot outdoors, except for a few scenes inside a studio. U Rajagopal and Benjamin captured the natural beauty of the seashore villages perfectly. The music composed by K. Raghavan was in sync with the mood of the film.

Prem Nazir, Madhu, Sankaradi, Veeran, Sheela, Adoor Bhavani played important roles in the film.

Chellamma (Sheela) loses her parents quite early in her life. Valli Akkan (Adoor Bhavani), her neighbour brought her up and trained her in tapioca trading. Chellamma was a tenant of Adhikari or the landlord (Veeran) who was enamoured by her beauty. Adhikari’s son Gopi Pillai (Jesey) was also charmed by her beauty. Bold and brave Chellamma knew how to keep such men at arms length. Athraamkannu (Madhu), an agent in the market, was in love with Chellamma and supported her whenever she needed help.

Kunjachan (Prem Nazir) a pump operator comes to the village to help the villagers drain out the rainwater that has flooded the paddy fields. Kunjachan, who saves Chellamma from an attack by Adhikari’s men, becomes intimate with her. Kunjachan returns after completing his work never to return though he had promised Chellamma that he would come back to marry her. Chellamma becomes pregnant. The entire village turns against her, except Valli Akkan and the kind-hearted tailor Kochu Kunjan Maistry (Sankaradi). Chellamma delivers a stillborn baby.

Athraamkannu supports Chellamma who is unable to work owing to ill health. One night, Kunjachan returns to the village and sees Athrakannu and Chellamma together in her hut.

Chellamma’s plea that Athraamkannu is like a brother to her does not convince Kunjachan. In the ensuing fight Athraamkannu is wounded severely and Kunjachan runs away.

Kunjachan breaks his arm in an accident and is hospitalised. Chellamma takes care of him and they move to a house away from her hut.

Chellamma struggles to manage the household as Kunjachan is unable to work with the fractured arm. Kunjachan’s wife Mary (Saraswathi) comes to the village with her two children. Chellamma is shocked to know that Kunjachan was married. She gives refuge to Mary and the children.

That night she attempts to commit suicide. She plucks a tender coconut to quench her thirst. Adhikari and his men catch her red-handed and brand her a thief – Kallichellamma, moments before her death.

Sheela excelled in her role which won for her the Kerala State Film Award for Best Actress. Also impressive were Adoor Bhavani and Sankaradi. Adoor Bhavani won the State award for Best Supporting Actress.

Songs written by P. Bhaskaran and tuned by K.Raghavan became very popular. Karimukil kaattile… (P.Jayachandran), Maanathe kayalin… (K.P. Brahmanandan), Ashokvanathile Seethamma… (Kamukara Purushothaman- B.Vasantha), Kaalamenna Karanavarkku….(C.O. Anto, P. Leela, Sreelatha, Kottayam Santha) and Unni Ganapathiye… (M.G. Radhakrishnan-Anto) has all stood the test of time.

Will be remembered: As the film that won State awards for Sheela and Adoor Bhavani, for the music and as the first film to be shot in Orwo Color.

Sarapanjaram (1979)

Jayan and Sheela in a still from the film.Photo: special arrangement

TOPICS

arts, culture and entertainment

cinema

cinema

Tamil cinema

Released on March 2, 1979, Sharapanjaram was a box office hit. The story of this film was written by Malayattoor Ramakrishnan. Dialogues written by popular playwright K.T. Mohammed were impressive. Written and directed by Hariharan and produced by G.P. Balan under the banner of G.P. Films, the film was shot at Satya, Vahini and Arunachalam Studios. Cinematography by Mehli Irani, especially the outdoor scenes shot in beautiful landscapes of tea and coffee estates, impressed the audience. The music composed by G. Devarajan was the highlight of the film, which was edited by V.P. Krishnan.

The story line of the film closely resembles the controversial novel Lady Chatterley’s Lover written by D.H. Lawrence in 1928. The novel was banned by several countries including Britain, and the ban on the novel is still in force in India though other countries have lifted the ban.

Popular artists like Jayan, Sathar, Nellikodu Bhaskaran, P.K. Abraham and Sheela essayed the important roles. Popular star Shanker appeared in a guest role. The dances were choreographed by E. Madhavan.

Flashbacks were put to use in narrating the story. Saudamini (Sheela) is married to a rich planter (P. K. Abraham) who becomes a heart patient shortly after Saudamini gives birth to their daughter Baby (Baby Sumathi and Priya). Saudamini’s husband becomes impotent due to the disease and though life becomes dull for her, Saudamini nurses her husband and the family live together, happily.

Chandrasekharan (Jayan), is appointed by Saudamini’s husband to train his newly bought horse. Saudamini is fascinated by Chandrasekharan. Taking advantage of the situation, one day Chandrasekharan seduces Saudamini.

At the same time Saudamini’s husband succumbs to a massive heart attack. Baby (Baby Sumathi) who was searching for her mother happens to see Saudamini with Chandrasekharan. Saudamini then marries Chandrasekharan but Baby develops a hatred towards her mother, believing that Saudamini’s neglect of her father resulted in his death.

A grown up Baby (Priya) leads a wayward life in her college hostel. She goes to clubs and parties, consumes alcohol and gets dismissed from the college. Baby returns home. Saudamini’s attempts to get Baby married also do not succeed. Prabhakaran (Sathar), son of a faithful servant Siddhayyan (Nellikodu Bhaskaran), who was dismissed by Chandrasekharan, is appointed as a driver by Saudamini. Baby falls in love with Prabhakaran. Prabhakaran succeeds in bringing Baby to a righteous path.

Saudamini repents her marriage with Chandrasekharan when she comes to know his real character.

After his marriage with Saudamini he turns more depraved. Chandrasekharan mismanages the estates and swindles away their wealth. He turns against Prabhakaran, murdering him and throwing his corpse from a hilltop.

Baby comes to Chandrasekharan to enquire about her lover. Chandrasekharan attempts to rape Baby, but Saudamini arrives and shoots Chandrasekharan to death, bringing the action-packed family drama to a tragic end.

Nellikodu Bhaskaran won the Kerala State Film Award for the Best Supporting Actor. Jayan and Sheela impressed in their key roles.

Jayan exuded machismo in his role of the gamekeeper and the scene in which he grooms the horse became a sensation. The comic scenes involving Oduvil Unnikrishnan provided moments of laughter.

Songs written by Yusuf Ali Kecheri and set to tune by Devarajan became popular. Instant hits were the Harikhamboji Raga based Saraswatha madhuventhum… (Vani Jairam) and Ambalakulathile aambal poley…’ (K.J. Yesudas). Other hits include Malarinte manamulla rathri… (P. Madhuri), Shrungara virunnorukki… ( P. Susheela) and Theyyaka thheyya thaalam…. (P. Jayachandran-Madhuri).

Will be remembered:

For Jayan’s performance, the music and the State award for the Best Supporting Actor for Nellikodu Bhaskaran.