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.

Thiramala (1953)

Sathyan, Thomas Burleigh, T. N. Gopinathan Nair, Adoor Bhasi, P. Bhaskaran, Kumari Thankam

Epoch making Sathyan and Kumari Thankam in a still from ‘Thiramala’

‘Thiramala’ has a significant place in the history of Malayalam cinema. It introduced rich orchestration, and also some artistes and technicians who made a name for themselves in later years.

Music director Vimal Kumar, singer Shanta P. Nair, Adoor Bhasi, Valsala Menon, as child actor, Ramu Kariat who worked as assistant manager of the unit, director Sasikumar who played the role of a hotel manager, Thomas Burleigh and Hindustani classical singer Lakshmi Shankar, made their Malayalam debut in this film. The film was based on a short story ‘Choondakkaran’ written by T. N. Gopinathan Nair who wrote the script and also acted in a major role.

The story line followed the favourite pattern of the love triangle. Lakshmi (Kumari Thankam), daughter of the village landlord Kurup (T. N. Gopinathan Nair) and Venu (Thomas Berleigh), son of the ferryman Panikkar (P. Bhaskaran) are childhood sweethearts.

Their love blooms much against the wishes of Kurup. He succeeds in pressurising Lakshmi into marrying Vijayan (Sathyan) a city wastrel. Venu leaves the village and finds a waiter’s job in a city hotel.

Vijayan and Lakshmi happen to stay in the same hotel where Venu is employed. Vijayan leads an immoral life making Lakshmi’s life miserable. Venu remains a silent witness to the break up of their marriage.

Meanwhile, Vijayan falls into the net cast by hotel dancer Swapna Latha and loses all his wealth. Lakshmi gives birth to a child, which dies. A remorseful Vijayan leaves the city in search of Lakshmi. Venu, who had also returned to the village, meets Lakshmi in a trying circumstance. Waiting to be taken across the swollen river during a raging storm Lakshmi is helped by Venu. Just when he sees Lakshmi safely to the other shore Venu is thrown into the river and is drowned. The film ends with a frame focussing on the corpse of Venu, which is washed ashore.

‘Thiramala’ was screened in various territories of the state with a different climax. In the Malabar region, the film had a happy ending with Lakshmi saved from the storm by Venu, who entrusts her to Vijayan. In the Southern region, the film ends with Venu’s death.

The film had 13 songs, most of which were imitations of popular Hindi tunes. Bhaskaran Master’s lyrics blended well with the tunes. The film is considered by musicologists as the first musical hit in Malayalam. The song ‘Hey kaliyodame poyalum nee sakhi...’ (Abdul Khader-Shantha P.Nair), a direct imitation of the immortal Hindi song ‘Kyon unhen dil diya...’ composed by Naushad for the film ‘Anokhi Ada’ (1948) is popular even today. The dance number sung by Lakshmi Shanker, ‘Vanamulla maala vaadi...’ and the pathos song ‘Tharakam irulil marayukayo...’ sung by Abdul Khader were also very popular.

Will be remembered: As the film which introduced eminent artistes and technicians. It will also be remembered for the songs, orchestration and for the different climax scenes.

Thaskaraveeran (1957)

Aathmasakhi (1952)

ON FRIENDSHIP Miss Kumari, left, and B. S. Saroja in the film

Sathyan, M. N. Nambiar, T. S. Muthiah, B. S. Saroja, Miss Kumari, Kumari Thankam, N. R. Thankam, Pankajavalli.

‘Atmasakhi’ was the first film produced by P. Subramaniam and the first to be shot at the famous Merryland Studios. This film company which Subramaniam established at Nemom, near Thiruvananthapuram, has the credit of having introduced many new artistes to Malayalam cinema. The most prominent among them was Sathyan. Though Sathyan first faced the camera in the film ‘Tyagaseema,’ a project that never saw the light of day, it was in ‘Atmasakhi’ that he made his debut. The glamour girl of the fifties, Kumari Thankam and N. R. Thankam, later known as Miss Chandni, entered films through ‘Atmasakhi.’

Also making their debut in this film were lyricist Thirunainarkurichi Madhavan Nair and music director Brother Lakshmanan. This was also the first film to be produced by Neela Productions.

The story, script and dialogues of ‘Atmasakhi’ were by K. P. Kottarakkara, who also acted in the film. The story of the film was in line with the then preferred formula of social films. The wicked step mother, ill treated children, g47ood hearted servants, were all there, along with the eternal love triangle. ‘Atmaskahi’ was dubbed into Tamil and released under the title ‘Priyasakhi.’

Raghu (Sathyan) and Leela (Miss Kumari), children of Chandrasekhara Pillai (Veeran), a wealthy landlord, lead a miserable life. Ill-treated and humiliated by their step mother Kamala (Pankajavalli). Their father is helpless, and the children do not get any love or care from him. The only consolation for the children is the family that stays close by. Raghu falls in love with the girl of that family, Santha (B. S. Saroja).

Raghu gets absolutely no support from his father when he decides to pursue medical studies. It is his friend Hari (K. P. Kottarakkara) who stands by him during that crucial phase. Kamala begins to play her dirty tricks to separate Raghu and Santha and also to turn her husband against them. At college, Indira (Kumari Thankam), unaware of Raghu’s affair with Santha, nurses an affection for him. This completes the love triangle.

In the meantime, Santha’s mother dies and she leaves home in search of Raghu. The story from now on races to a climax. Santha falls into the hands of ruffians but is saved in the nick of time by Indira and Hari. Santha becomes a nurse. Mohan (M. N. Nambiar), the wicked son of Kamala, is shot dead by his own mother by mistake. Kamala turns insane; Raghu marries Santha, while Leela weds Hari; Kamala is back to normal, reformed, providing a happy ending to the film.

Most of the 13 songs of the film were imitations of popular Hindi and other language film songs. Most of these songs have faded into obscurity. The lyrics of the imitated songs did not gel with the tunes in most cases. One such song, imitation of an immortal Marathi song composed by Vasant Desai in Lavni style, ‘Lat pat lat pat......’ for the film ‘Amar Bhoopali’ sung by Lata Mangeshkar and chorus, sung in ‘Atmasakhi’ by N. L. Ganasaraswathi and beginning ‘Jayam jayam sthana jayam...’ failed to create an impact. So was the fate of the other imitations.

But one of the songs, in spite of being an imitation of a very popular Hindi film song, became a hit. The song, ‘Aa nila vaanilen aashakal, kaniyidum tharake...’ rendered by P.Leela and T. A. Mothi was a direct imitation of the Hindi song ‘Duniya hamare pyar ki...’ from the 1949 film ‘Lahore’ sung by Lata Mangeshkar and Karan Dewan.

Will be remembered: ‘Atmasakhi’ will be remembered as the first film of Neela Productions. It will also be remembered as the debut film of Sathyan, Kumari Thankam and the musical duo Thirunainarkurichi-Brother Lakshmanan.

Snehaseema (1954)

Sathyan, Kottarakkara Sreedharan Nair, Padmini, G. K. Pillai, Artist P. J. Cherian

Landmark movie Padmini and Sathyan Released on December 30, 1954, this was a New Year gift to the Malayali. One of the most successful films produced by the thespian T. E. Vasudevan, the USP of ‘Snehaseema’ was a strong social theme and some wonderful music. The plot revol ves around Johny (Sathyan), an orphan raised by a Christian priest who works as a teacher in a private management school. Omana (Padmini), the daughter of the manager of the school, falls in love with Johny. This leads to their wedding, quite against the wishes of Omana’s father. Johny resigns from the school and joins the army. Meanwhile, Omana give birth to a baby girl. War breaks out and Johny is reported to be killed at the front. Despite protests, Omana is forced by her father to marry Doctor Baby (Kottarakkara Sreedharan Nair). This was an alliance that her father proposed before Omana’s marriage to Johny. The story takes a twist when it is known that Johny is not dead and the news that was floated was by some mistake. Johny returns home to find Omana married again. Suffering a huge setback Johny attempts to commit suicide. Doctor Baby tries in vain to save him. The heart-broken Omana also succumbs to death.

Written by Ponkunnam Varkey, noted for his attacks against the church and its orthodoxy, it lays bare the laws and practices that the community had to suffer from. One of the Draconian laws pertaining to marriage and remarriage is what is discussed in this film. Ponkunnam Varkey made a bold attempt to correct such unjust laws.

The film’s storyline often appears to be an adaptation of Lord Tennyson’s story poem ‘Enoch Arden,’ Elizabeth Gaskell’s historical novel ‘Sylvia’s Lovers,’ especially the melodrama element, and Adelaide Anne Procter’s poem, ‘Homeward Bound.’ ‘Snehaseema’ also had close resemblance to the Noor Jehan- starrer, Pakistani film, ‘Dupatta,’ which was released in March 1952. In fact, prior to the 1965 Indo-Pak War, Pakistani films were released in India also. ‘Dupatta,’ a musical hit, with the sweet melodies by Noor Jehan and music by Firoze Nizami was a box office hit in India too.

V. Dakshinamurthy, who composed the music for the film, dispensed with the practice of imitating other language film tunes, though not fully. The music composer successfully blended Carnatic music with Christian devotional tunes. The song, ‘Kanivolum kamaneeya hridayam…’ rendered by P. Leela is based on Sankarabharanam raga. This composition is identified by musicologists as the first Christian devotional in a Carnatic raga. Dakshinamurthy composed another song in this film which was a blend of the choir and western tune. ‘Adhawanikunnavarkum bhaaram chumakunnorkum…’ sung by P. Leela and chorus also became popular. Another song, a lullaby, ‘Kannum pootti uranguka neeyen...’ by P. Leela and A. M. Raja, remains the most sought after number from this film.

Sathyan, Kottarakkara, and Padmini came up with brilliant performances. The dialogues by Ponkunnam Varkey gave the film a strong social reformist touch. Encouraged by the success of the film, ‘Snehaseema’ was dubbed into Tamil. The film ‘Punyavathi’ had a good run in Tamil Nadu. Will be remembered: The film developed a reputation and enduring appeal mainly for its secular credentials. Snehaseema will also be remembered for its evergreen songs and soulful music.