Kavyamela (1965)

Cast: Prem Nazir, G. K. Pillai, Nellikkodu Bhaskaran, Adoor Bhasi, S. P. Pillai, Sheela, Nilambur Ayisha

MUSICAL HIT Prem Nazir and Sheela in ‘Kayvamela’

This film was an adaptation of Guru Dutt’s classic Hindi film ‘Pyaasa’ (1957). Guru Dutt’s vision in his tragic epics was unique and his genius unmistakable. ‘Pyaasa’ is considered as his greatest work. This film explored his favourite theme - the place of an artist in a crass commercialised world. This was the theme of another Hindi film ‘Raja’ (1943) produced by Poornima Productions and directed by Kishore Sahu. ‘Kavyamela’ pales in comparison to the two.

Guru Dutt’s exploration of the tragic idiom is unprecedented in Hindi cinema. According to him the inspiration for ‘Pyaasa’ came from a lyric by the Greek poet Homer that read ‘seven cities claimed Homer dead, while the living Homer begged his bread.’

The brooding imagery in black and white and the unrelenting bleakness of Guru Dutt’s world view which were the highlights of his film was missing in the Malayalam film. But in spite of all this ‘Kavyamela’ was a thumping box office success.

Produced by T. E. Vasudevan under the banner of Jayamaruthi Productions, the film was directed by M. Krishnan Nair.

The film had Prem Nazir in the lead role of a tragic lover, and is considered one of his best performances. The dialogues by S. L. Puram Sadanandan were one of the highlights of the film.

Except for some minor twists in the story, the film followed ‘Pyaasa’ very closely.

Jayadevan (Prem Nazir) loses his eye sight while at college. A very talented poet, he lives with his sister despite the constant taunting of his brother-in-law. Unable to bear the humiliation Jayadevan leaves home. He meets Vikraman (Adoor Bhasi), a city wastrel who takes him to a temple where Jayadevan sings in praise of the Goddess. Vikraman collects the money offered as charity to the blind singer by the devotees. When Jayadevan comes to know of this cheap trick he breaks away from Vikraman.

Sreedevi (Sheela), daughter of Dr. Panicker (G. K. Pillai) meets Jayadevan. She takes pity on the blind singer. Dr. Panicker comes to know that Jayadevan is the son of his childhood mate. He offers to treat Jayadevan.

A surgery is conducted and Jayadevan regains his eyesight. Sreedevi falls in love with Jayadevan. Dr. Panicker had already planned her marriage with his nephew Balachandran (Nellikkodu Bhaskaran). When Balachandran comes to know about the relationship between Sreedevi and Jayadevan he withdraws from the marriage.

Jayadevan who did not want to do anything against the wishes of Dr. Panicker, leaves the house.

Jayadevan wanders around seeking a publisher for his poetic work ‘Kavyamela’. When none of the publishers offer to do so he dumps the manuscript in frustration.

This manuscript finds its way to the hands of Vikraman who manages to find a publisher. Claiming that he is the author, Vikraman has the work published. ‘Kavyamela’ becomes an instant hit and Vikraman becomes rich and famous overnight.

‘Kavyamela’ wins the Sahitya Academy award. Jayadevan and Balachandran come to know about the fraud. They succeed in snatching the manuscript from Vikraman.

In a melodramatic climax Jayadevan reaches the venue where a function is organised to honour Vikraman for the award. Jayadevan proves before the people there that he is the real author. He rejects the award which is now given to him. He tears the manuscript of his work into pieces, rejects Dr. Panicker’s request to marry his daughter and walks away.

The film was shot at Newton and Shyamala Studios. Camera work by C. J. Mohan and editing by T. R. Sreenivasalu was commendable. Prem Nazir excelled in his role. S. P. Pillai as Kamath, in a cameo role as a merchant who buys and sells old paper and scrap impressed. The comedy track involving Adoor Bhasi and Muthukulam Raghavan Pillai was also good.

A scene in which the prominent music directors, lyricists and singers of the industry appeared to sing a part of a song, ‘Swapangal, swapnangale…’ was a novel experience. It is said that music director V. Dakshinamoorthy had composed over 20 tunes for this one song out of which they finally zeroed in to one of them. Some of the other tunes that Dakshinamoorthy composed for this song are represented in this scene.

The film was remade in Tamil as ‘Devi’ in 1968. Directed by A. K. Velan it had Muthuraman and Devika in the lead roles. The music composed by Dakshinamoorthy followed the tunes he had made for ‘Kavyamela”.’ But this film was not very successful at the box office.

The music of the Malayalam film was a huge hit. The songs penned by Vayalar Rama Varma, set to tune by Dakshinamoorthy were super hits. Most of the songs were raga-based. ‘Devi Sreedevi thedi varunnu…’ sung by both K. J. Yesudas and P. Leela based on Valachi, the Yesudas-Leela duet ‘Swapnangal, swapnangale ningal … ‘ based on Sahana, ‘Janani jagajanani…’ (Yesudas) based on Bilahari raga became eternal favourites. Playback singer Uthaman’s most popular film song ‘Ishwarane thedi thedi…,’ ‘Swarganandini…’ (Yesudas), ‘Theertha yathra ithu….’ (Yesudas- Leela) made this film a virtual musical treat.

Will be remembered: For the excellent music and memorable songs. It will also be remembered for Prem Nazir’s acting.

Desabhakthan (1952)

Bhagyajathakam ( 1962 )

Kottarakkara Sreedharan Nair, T S Muthiah, Nanukuttan, M G Menon, Adoor Bhasi, Bahadur, Sree Narayana Pillai, Sheela, Pankajavalli, Adoor Bhavani, Adoor Pankajam

Melodramatic hit Satyan and Sheela in a still from the film

‘Bhagya Jathakam’, a family melodrama, was produced by P. Bhaskaran in association with B.N. Konda Reddy, one of the reputed film producers of South Indian cinema and brother of the legendary B.N. Reddy, founder of Vijaya - Vauhini studios. The film succeeded at the box office, though it cannot be considered as a block buster.
It was directed by P. Bhaskaran under the banner of ‘Kerala Pictures’.
The script, also penned by P. Bhaskaran, adopted the then prevalent formula for family melodramas with several twists and turns and on most occasions far from real life. Dialogues, penned by Jagathi N K Achari, was impressive and succeeded in conveying the emotions of the characters to the audience. The art portfolio of the movie was handled by P. N. Menon.
Except for a few scenes, the entire film was shot on the spectacular shooting sets at Vijaya, Vauhini and Udaya studios. The film was a pure family entertainer with all the mandatory factors like comic scenes, tear jerking sentiments, dances, songs, fights etc. One of the important factors that led to the success of the film was the performance of the super star Satyan in a double role. This was the first film in which Satyan performed a double role and probably the second Malayalam film with a double role performance (the first being ‘Poothali’ - 1960).
Doctor Surendran (Satyan) is the only son of the wealthy estate owner Shankaran Thampi (M G Menon). Surendran marries Radha (Sheela), daughter of a yoga teacher, Achuthan Pillai (Sree Narayana Pillai). Surendran’s mother, Parvathy Amma (Adoor Bhavani) loses her power of speech due to a brain tumour and she is bedridden. Shankaran Thampi’s nephew Rajasekharan Thampi (Kottarakkara Sreedharan Nair) and his wife Vilasini (Pankajavalli) manage the assets and household of Shankaran Thampi. RajasekharanThampi’s evil eye is on the wealth of Shankaran Thampi.
Shankaran Thampi suffers from a cardiac arrest when Surendran is away. Rajasekharan Thampi manages to get the signatures of his uncle, Shankaran Thampi on blank papers which he converts to documents and gets the entire wealth in his own name. Shankaran Thampi poisons his uncle then. Before breathing his last, Shankaran Thampi reveals to his bedridden wife the wicked deeds of Rajasekharan Thampi.
Surendran rushes home when he comes to know about the tragedy. On the way he has an accident, the head injury causes loss of memory and he is admitted to the mental asylum run by Dr. Poonjar (T S Muthiah). Radha is framed with false charges of immoral relations with one Surendran’s friends and is ill treated by Rajasekharan and his wife Vilasini.
A pregnant Radha is mercilessly turned out of the house. Chandran Pillai (Satyan), a comedian in a drama troupe resembles Dr. Surendran. Chandran Pillai visits the mental asylum where Surendran is admitted as an inmate. Dr. Surendran attacks Chandran Pillai and escapes from the asylum and Chandran Pillai is mistaken for Surendran by mental asylum authorities
A huge branch of a tree falls on Surendran’s head and in the shock, he regains his memory. Fate unites the couple, Surendran and Radha on the streets. Radha delivers a boy.
The culprits, Rajasekharan and his wife are arrested in the end and all ends well.
All believe that the ‘Bhagya Jathakam’, the lucky horoscope of the new born child of Radha and Surendran brought luck and peace to the family. Adoor Bhasi’s role of the Bhagavathar is considered as one of his best.
The ten songs penned by P Bhaskaran were set to tune by M S Baburaj.
A duet by K J Yesudas and P. Leela – ‘Adyathe kanmani ....’ has stood the test of time and remains one of the best songs in Malayalam cinema.
Will be remembered:
First Malayalam film of actress Sheela. First double role performance of Satyan.

Palaattu Koman (1962)

Tarzan-like Sathyan in the role of Paalaattu Koman

Cast: Satyan, Kottayam Chellappan, S P Pillai, Velayudhan Nair, Bahadur, Boban Kunjacko, Master Jijo, Ragini, Rushyendramani, Jayanthi etc.


Paalaattu Koman,' produced by Udaya Studios under the banner of XL Productions, and directed by Kunchacko, was an adaptation of a ballad from the `Vadakkan Paatu'. Following the grand success of the screen adaptation of a similar ballad, `Unniyarcha' (1961), the producers picked up another such ballad for `Paalaattu Koman.'

The film tells the story of Palaattu Koman, a pioneer of kalarippayattu. `Komappan,' is an epic poem written by the noted poet Kundoor Narayana Menon, who in 1912 popularised the ballad of Paalattu Koman and his love affair with his enemy's sister. The script by Sarangapani for this film closely follows this epic poem by Kundoor.

The film was mainly shot at the Udaya Studios and the backwaters of Kerala. Leading stars of the time like Satyan, Ragini, Kottayam Chellappan, S. P. Pillai, Bahadur played major roles in the film. Rushyendramani (Sree Ramani in the title cards), the popular singing star of early Telugu cinema who was noted for her heroic roles, appeared in a major role. Besides sword fighting that was mandatory in these tales, the film included fights between man and wild animals. In fact, the hero's fight with a tiger was a highpoint of the film. These scenes were canned impressively using the available equipment and techniques of the time. Such fight scenes were factors that helped make the film a box office success.

The film tells the story of a feud between two families, Thonnooram Veedu and Kaippulli Paalattu Tharavadu. Chandrappan (Kottayam Chellappan) is the head of Thonnooram Veedu. He has an eye on the treasure kept in an underground cell of the Paalaattu mansion. A dispute between the children of the two families results in a bloody fight. Chandrappan kills the husband and all nine children of Kunki Amma (Rushyendramani) of the Paalaattu family.

Kunki Amma is rescued by the chieftain of the jungle where she was taken to be killed. She gives birth to a boy and takes an oath to destroy the entire Thonnooram Veedu. She reaches the Paalaattu in disguise along with her aide Pankan (S. P. Pillai). With the blessings of the snakes guarding the treasure at the mansion, Kunki succeeds in escaping from there with the treasure. Kunki's son Koman (Satyan) who undergoes training in martial arts becomes a master in the art. He starts off on a mission, to eradicate the Thonnooram Veedu clan and thereby to fulfil the desire of his mother.

Koman falls in love with Unniyamma (Ragini) without knowing that she is the sister of Chandrappan. Chandrappan and his group take Kunki Amma into custody and torture her. Koman defeats Chandrappan and frees Kunki Amma. All the members of Thonnooram Veedu, except Unniyamma, are killed. Koman marries Unniyamma bringing the film to a happy end.

Satyan, Ragini, Kottayam Chellappan, and Jayanthi excelled in their roles. S. P. Pillai and Bahadur did justice to their comic roles. Jijo and Boban Kunchacko who portrayed the childhood days of the hero also impressed.

The dialogues by Sarangapani had the North Malabar flavour, especially the use of local parlance. Costumes matched the time presented. The choreography by Hiralal, cinematography was the other factors that stood out in the film.

It is interesting to note that the producers had planned to name the film `Konki Amma' or `Kunki Amma.' The gramophone records of the film have the title as `Konki Amma' on them. This has caused confusion with regard to the credits of the songs.

Out of the 12 songs penned by Vayalar Rama Varma and set to tune by M. S. Baburaj, some of them turned super hits. The hit duet sung by A. M. Raja and P. Susheela, `Chandana pallakkil veedu kaanan vanna...' is considered as one of the best romantic songs in the language. The duet by Santha P. Nair and Jikki, `Poove nalla poove...' is another popular hit. The other hits from this film include `Ayyappan kaavil amme...' (P. Leela), `Manassinakkathu oru pennu...' (K. P. Udayabhanu). Will be remembered: The only Malayalam film in which the noted singing star of South Indian cinema, Rushyendramani acted. The film will also be remembered for its good music.

Gnaanasundari (1961)

Prem Nazir, Thikkurissi, G. K. Pillai, S. P. Pillai,Adoor Bhasi, Bahadur, L. Vijayalakshmi,Pankajavalli, Aranmulla Ponnamma,Adoor Pankajam

CLASSIC HIT Prem Nazir and L. Vijayalakshmi in the film

`Gnanasundari,' a Christian folk myth has always been in focus of the Indian stage and the silver screen. The legend of `Gnanasundari', a rare example of a totally invented Christian mythological character, is probably developed from a Spanish folk tale. `Gnanasoundari Ammanai,' a folk poem, which attained much popularity from the 18th century, is the basis of the musical operas that were staged in Malayalam and Tamil. Popular drama troupes in Tamil Nadu staged this play throughout South India and it had its influence on the Malayalai audience also. In 1921, V. S. Andrews, one of the founder members of sangeetha natakam (musical opera) in Malayalam created a musical opera which was staged very successfully in the State.

The story of Gnanasundari was released by Columbia Gramophone Company in Tamil in a set of 78 rpm records which was in huge demand those days.

General Pictures Corporation, pioneers of silent cinema in the South, produced a silent film titled `Gnanasundari' directed by A. Narayanan in 1929. With the advent of the sound in cinema, the same story was filmed in Tamil by Sreenivasa Cinetone again directed by A. Narayanan with Sreenivasa Rao and Sarojini in lead roles. The film was a huge success. In 1948, Gemini Films and another film production company Citadel Films released the story under same title `Gnana Soundari' and both the films were released at the same time. The film by Gemini that was directed by the experienced Murugadasa and had popular artists M. K. Radha and V. S. Suseela in the lead roles, failed. However, the Citadel production, directed by Joseph Thaliath, a Malayali and F. Nagoor with singing sensation T. R. Mahalingam and the Kannada- Tamil actress M. V. Rajamma in lead roles, was a huge success. It is said that S. S. Vasan, owner of Gemini Studios withdrew his film from the theatres as a respect to the tremendous victory of the Citadel version.

The Malayalam version was released during Christmas time, December 22, 1961. It was a true copy of the Citadel version. Though the story and script by Muttathu Varkey was based on a novel of the same title authored by him, the dialogues closely resembled that written by Nanjil T. N. Rajappa for the Tamil version. Except for the hero and the heroine, the names of the other characters were changed in the Malayalam film. The Malayalam version was a success, but not as successful as the Tamil original.

Gnanasundari (L.Vijayalakshmi), daughter of King Philip (Thikkurissi), loses her mother when she was a child. She grows up as an ardent devotee of Virgin Mary. Out of fear that she may be banished if Gnanasundari ascends the throne after her father, Annisha (Pankajavalli) her stepmother plays nasty tricks to kill her. For this evil plot Annisha takes the help of her faithful maid Kathri (Adoor Pankajam). When the king is away from the palace on a hunting expedition, Annisha engages her men to murder Gnanasundari. Out of mercy for their princess, Annisha's men leave Gnanasundari alive in the woods with her arms cut off and reports to Annisha that the princess is murdered. Philendran (Prem Nazir), prince of a neighbouring kingdom, happens to find Gnanasundari in the forest and takes her to his palace. King Sheemon (G .K. Pillai) and Queen Mariana (Aranmula Ponnamma) conduct the marriage of their son Philendran with Gnanasundari.

While Philendran is away helping King Philip in battle, Gnanasundari gives birth to twin boys. Annisha comes to know that Gnanasundari is alive and is now the wife of Philendran. A message sent by Philendran to his parents is forged and manipulated by Annisha. Misguided by the message Sheemon sends Gnanasundari and her children to the forest. Gnanasundari prays to Virgin Mary to save her from the miserable plight and the mother of Jesus Christ descends to save her devotee.

Philendran returns to the palace and is heart broken when he comes to know about the fate of his wife and children. He leaves the palace to search for them. He finds them in the forest, misunderstandings are cleared, Philendran and Gnanasundari return to the palace with their children. Annisha and Kathri are forgiven by Gnanasundari and the film ends with prayers to Virgin Mary.

This was the first independent directorial venture of K. S. Sethumadhavan in Malayalam. He had earlier directed a Sinhalese film before this. His efficient direction and excellent camera work by Melli M. Irani brought to the screen the beauty of the splendid sets of Vijaya -Vauhini studios. Costumes by K. Raman, editing by M. S. Mani, sound recording by C. V. C. Shekhar and art direction by R. B. S. Mani , all contributed to the success of this black and white film. The mandatory miracle scenes of this mythological film gave ample scope for special effects. The scenes where Virgin Mary descends to earth and Gnanasundari regaining her arms were filmed with amazing technical perfection.

Prem Nazir and L. Vijayalakshmi did justice to their roles. Pankajavalli and Adoor Pankajam also filled the bill perfectly. But the comic scenes, copied from the Tamil version, that had Adoor Bhasi, Bahadur, S. P. Pillai and Adoor Pankajam did not rise to expectation.

There were 10 songs in the film penned by Abhayadev and set to music by V. Dakshinamoorthy. Some of the songs became super hits and have stood the test of time. The devotional song by P. Leela `Kanya Mariyame thaaye...' is considered as one of the best Christian devotional songs in Malayalam cinema. The solos by Kamukara Purushothaman, `Mindaatha thenthanu thatthe...' and `Panineer malarinorithal...' also became super hits. The other hits include `Onnu chirikkku chirikku...' (Kamukara-Leela), `Parannu poyo inakkiliye...' (Kamukara) and the comedy duet `Kandal nalloru chetta.' sung by the composer himself with K. V. Santha is one of the best songs in the genre.

Will be remembered: As the first independent directorial venture of K. S. Sethumadhavan in Malayalam. As the debut film of actress L. Vijayalakshmi in Malayalam and first independent film of cinematographer Melli M. Irani. It will also be remembered for the good music and as a huge success among the remake films in early Malayalam cinema.

Chilamboli (1963)

Prem Nazir, Thikkurissi, Muthiah, Adoor Bhasi, S .P. Pillai, Bahadur, Ragini, Ambika, Sukumari, Adoor Pankajam.

Musical A scene from Chilamboli 

‘Chilamboli,’ produced under the banner of ‘Vrindavan Pictures’ was an adaptation of the legend of Bilwamangal, Sanskrit poet and an ardent devotee of Lord Krishna. This legend has been the theme of many an Indian film. In fact, various states claim him as their own. The ancient Sanskrit epic poem ‘Sree Krishna Karnamrutham,’ supposed to have been written by him, gives evidence of the life and time of Bilwamangal, known as Vilwamangalam Swamiyar, in Kerala. The story of ‘Chilamboli’ revolves around Guruvayoor temple and surroundings.

Madan Theatres, one of the reputed film producers of early Indian cinema, sent the black and white version of the Hindi film ‘Bilwamangal’ (1932) abroad and had it printed in colour. Another Hindi film of the same title released in 1954 had singing stars C. H. Atma and Suraiya in the lead roles. Some film versions presented the legend as a biography of Surdas, for example Homi Master’s silent film ‘Bilwamangal.’ Most Hindi and Bengali versions tell the story from the male perspective, following Girish Ghosh’s famous play ‘Bilwamangal’ (1886), but the South Indian films narrate the tale of Chintamani, the courtesan who influenced the life of the poet. The importance given by the stage and the screen indicate the influence of the legendary poet on the people.

The Tamil film version of the legend ‘Chintamani’ (1937) directed by Y. V. Rao with M. K. Thyagaraja Bhagavathar in lead role and another singing sensation, K. Ashwathamma as Chintamani created a record of sorts at the box office. The Telugu remake directed by P. S. Ramakrishna Rao had N. T. Rama Rao and P. Bhanumathi in the lead roles. The Kannada remake of this Tamil film had Ashwath and B. Saroja Devi in the lead roles. Directed by M. N. Basavarajiah this film was an early experiment in colour. Both the Telugu and Kannada remakes were huge successes. The Malayalam film ‘Chilamboli’ also followed Rao’s Tamil version. The script and dialogues penned by Thikkurissi was almost a copy of the Tamil film. But the Malayalam version did not click. This can be because the Tamil and Telugu films had good runs in the State. The then super stars of Malayalam cinema, Prem Nazir, Thikkurissi, Ragini, Ambika handled the main roles. The film was a musical hit, the choreography of Madhavan was also greatly appreciated.

According to the legend prevalent in Kerala, the life of Vilwamangalam is closely associated with major temples, like the Guruvayoor temple, Poornathrayeesa temple, Tripunithura and the Chottanikkara temple. The film narrates some of the episodes connected with the Guruvayoor temple. It was later dubbed in Tamil under the title ‘Bilwamangal.’

‘Chilamboli’ (sound of the anklets) opens with the courtesan Chintamani (Ragini) performing a dance on the premises of the Guruvayoor temple. Vilwamangalam (Prem Nazir), a rich merchant and Sanskrit scholar, is introduced by his friend Visweswaran (Thikkurissi) to Chintamani. Chintamani is a devotee of Lord Krishna. Vilwamangalam’s devotion to the Lord and his knowledge of Sanskrit attracts Chintamani towards him. Vilwamangalam gets drawn towards Chintamani. Though a courtesan, she stands against the wishes of her mother Parijatham (Adoor Pankajam) who tries to pressurise her into following the traditions of courtesans. Vilwamangalam deserts his wife Sumangala (Ambika) and his family to lead a life with Chintamani.
Vilwamangalam reaches home to find his father (T. S. Muthiah) on his death bed. Sumangala’s attempt to stop her husband from leaving home is in vain. Vilwamangalam’s love for Chintamani leads to tragedy. Sumangala jumps into a swollen river and commits suicide. Vilwamangalam crosses the river on that stormy night holding on to a log floating in the river. He reaches Chintamani’s chamber by climbing over a wall with the help of a hanging rope. But he never realises that the log he had clutched on hard happened to be the dead body of Sumangala and the rope a python. These images have been used to show Vilwamangalam’s blinding fascination for Chintamani. As time passes Chintamani gets disillusioned and pleads with Vilwamangamalm to offer his love to God. The lovers are separated and both lead a life devoted to the Almighty. Vilwamangalam loses his eyesight. From thereon both their lives are guided by the hand of God. They are united in life once again only to gain salvation at the feet of the Lord.

Prem Nazir and Ragini excelled in their roles. The dance sequences involving Ragini and Ambika, along with the choreography, were the high points of the film. The comic scenes by S. P. Pillai, Adoor Bhasi, Bahadur, and Sukumari were exact copies of the 1937 Tamil film The child artists, Baby Vinodini and Baby Vilasini, who performed the roles of Krishna impressed. Direction and camera work by G. K. Ramu were commendable.

Twelve songs penned by Abhayadev were set to tune by Dakshinamoorthy. The song by P. Leela , ‘Priya manasa nee vaa vaa...’ became a super hit. A duet by Kamukara and Leela, ‘Poovinu Manamilla....” and the solos by Kamukara, ‘Odi vaavaa odi vaavaa...’ and ‘Mayamayanude Leela...’ also became extremely popular and have stood the test of time.
Will be Remembered: For the good music and choreography. It will also be remembered as the first Malayalam film with the Guruvayoor Temple as the background for some important scenes.

Sakunthala (1965)

Cast: Prem Nazir, Satyan, Thikkurissi, Adoor Bhasi, S P Pillai, Bahadur, K R Vijaya, Rajasree, Aranmula Ponnamma, Adoor Pankajam etc

Box office hit - A scene from ‘Shakuntala’

‘Shakuntalam,’ Kalidasa’s epic has been a favourite subject of several producers and directors of Indian cinema. The story has also been staged by almost all reputed drama troupes as musical operas.

The Malayalam version, produced and directed by M. Kunjacko, which was released in 1965 was a huge hit. Two other memorable film versions of the epic were the Tamil film released in 1940 with Carnatic musicians G. N. Balasubramaniam and M. S. Subbulakshmi in the lead roles. Directed by the American director Ellis R. Duncan who has several landmark films to his credit this Tamil film is considered as one of the best musical hits in Indian cinema apart from its technical perfection. Another black and white film, produced and directed by V. Shantaram in 1943, was also a major success. In 1961 Shantaram remade the film in colour titled ‘Stree’ with his wife Sandhya as Shakuntala and himself as Dushyanta. The film failed. However, this film is still remembered for its excellent music by C. Ramchandra.

The Malayalam ‘Shakuntala’ is a true copy of ‘Stree’. All the main scenes and song sequences of the Malayalam film resembled the Hindi film closely. But the Malayalam film achieved enviable success at the box office which the Hindi film failed to do. Noted poetess and short story writer Lalithambika Antharjanam penned the dialogues, while the script was written by Thoppil Bhasi. This remains the only film for which the reputed poetess wrote the dialogues. The music by the magical duo Vayalar-Devarajan was excellent. The key roles were performed by the super stars of the time, Prem Nazir, Sathyan, and K. R. Vijaya.

Menaka (Rajasree), an ‘apsara’ in Indra’s court, is sent to earth to wake up Viswamitra from his penance. Menaka succeeds in her errand and she gives birth to a girl whom she abandons in the forest. The girl is adopted by sage Kanva (Sathyan) whom he names Shakuntala (K. R. Vijaya) and she is brought up in the hermitage.

King Dushyanta (Prem Nazir) happens to see Shakuntala during one of his hunting expeditions and he falls in love with her. Dushyanta marries Shakuntala secretly and after some time leaves promising to comeback and take her to his palace.

Shakuntala gets pregnant and the king never comes back. Kanva sends her to the royal court of Dushyanta, but the king rejects her due to the curse of sage Durvasa. The curse of Durvasa clouds the king’s memory and he forgets the entire episode of his hunting expedition and marriage with Shakuntala. Shakuntala gives birth to a boy in the hermitage of Kashyapa (Thikkurissi). Dushyanta regains his memory when he sees the ring he gave to Shakuntala which she had lost on her way to the royal court. The recovery of his memory was also a modification of Durvasa’s curse. Dushyanta comes to take Shakuntala bacak, she refuses, using the same language with which she had been evicted. But all the misunderstandings get cleared and the two are eventually reconciled.

All the main actors excelled in their roles. Prem Nazir as the romantic lover in the first half and as the repentant husband in the other half performed his role well. K. R. Vijaya as Shakuntala also excelled in her role with her acting talents and charming looks. Sathyan as Kanva, Thikkurissi as Kashyapa and Aranmula Ponnamma in a minor role performed their roles well. Adoor Bhasi, S. P. Pillai and Adoor Pankajam handled the comic scenes in the film. The choreography was good. The dance sequence involving Menaka was the main attraction. The film was shot partly in colour. This dance scene and the climax were shot in colour. At a time when colour films were rare in Malayalam, these scenes accounted for the success of the film. All the 10 songs penned by Vayalar were set to tune by Devarajan based on classical ragas. Most of the songs became super hits. The romantic number sung by P. Susheela, ‘Priyatama Priyatama pranayalekhanam...’ based on Bilahari raga; the Desh based ‘Sankhu pushpam kannezhuthumbol...’ and Kharaharapriya based ‘Swarana thamara ithalilurangum...,’ both sung by K. J. Yesudas remain among the best songs of the two singers.

The romantic Yesudas-Susheela duet, set in Mohanam, ‘Malini dadiyil kannadi nokkum maane...’ is considered as one of the best romantic duets in Malayalam. P. B. Sreenivas imparted a highly emotional touch to the Charukesi based ‘Vanadevathamare vida nalkoo...,’ while the dance number ‘Manichilamboli kettunaroo...’ sung by S. Janaki bacame hits.

Will be remembered: As a successful adaptation of a literary classic. It will be remembered as the only film for which Lalithambika Antharjanam wrote the dialogues. And for its excellent music.