Nair Pidicha Pulivaalu (1958)

Sabarimala Sree Ayyappan (1961)

Thikkurissi Sukumaran Nair, G K Pillai, Kottarakkara Sreedharan Nair, T S Muthiah, Rajan, Hari, S P Pillai, N Balu, Manavalan Joseph, Ambika, Padmini, Ragini, Adoor Pankajam

The first Malayalam film on the legends of Lord Ayyappa and Sabarimala was released in colour a few days before the commencement of the annual pilgrimage (November 3, 1961, Thulam 18, 1137 M.E.). The film was an instant success. It ran to fully packed theatres throughout the pilgrimage season and even after Makaravilakku.

This film is considered to be the most successful film made on Sabarimala. It sparked the beginning of a series of similar movies in almost all South Indian languages.

Produced under the banner of ‘Sastha Films’ by K. Kuppuswamy, the film was directed by the famous South Indian director Sreeramulu Naidu. The script and dialogues penned by Thikkurissi Sukumaran Nair told the story of the deity in a simple and impressive style. The colour processing by Film Centre, Bombay, was much more perfect than the first colour film in the language ‘Kandam Becha Coattu,’ released the same year. Most of the scenes were shot at Pakshiraja Studios with cinematographer Shailen Bose showing great technical skill especially in canning the outdoor forest sequences.

King Rajasekhara (Thikkurissi), the king of Pandalam, finds a child on the banks of River Pampa during one of his hunting expeditions. A saint who appears there advises the king to adopt this child name him as Manikantan… so goes the popular story. Ambika is the queen. Bhanuvikraman, the minister is played by G. K. Pillai. Mahishi (Ragini) is the demon princess who is killed by Manikandan, thereby fulfilling the mission for which he was born on earth. Manikantan returns from the forest with a herd of tigers. Manikantan gives up the throne and goes to the forest for penance. The king constructs a temple at Sabarimala.

Rajan as Manikantan, Hari as Rajarajan and Master Jitendranath and Master Georgie Thomas in the childhood roles of Manikantan and Rajarajan did justice. The film included some sub plots, which one may not be able to find in ‘Bhoothanathopakhyanam’ and ‘Ayyappan Paattu,’ which tells the story of Lord Ayyappa and Sabarimala temple. Scene like the one in which Manikantan gives sight to the blind son of his Guru (T. S. Muthiah), the Gurukula sequences, and those involving Manikantan and Vavar (Kottarakkara) were impressive.

Padmini’s guest appearance as Mohini and the dance sequences with dance director Thankappan in the role of Bhasmasura, was one of the attractions of the film. The comedy scenes, that of ‘Parvathi Vilasam’ Ayurvedic dispensary featuring S. P. Pillai, Adoor Pankajam, Manavalan Joseph etc. proved to be a unnecessary diversion from the main plot.

The film was dubbed to Tamil and exhibited throughout Tamil Nadu successfully that same year.

There were 12 songs in the film, penned by Abhaya Dev and tuned by S. M. Subbiah Naidu. Some of the songs became super hits and are still popular. The lullaby ‘Swargam kaninju jagathinnu thanna...’ by P. Leela, is considered as one of the kind in the language. Singing star of early Tamil cinema and playback singer of later period, V. N. Sundaram rendered his best song in Malayalam ‘Aaararivoo nin maya leelakal...’

Actress Kottayam Shantha made her playback debut with the song ‘Padha thalir thozhunnen....,’ which also became a super hit. Other hits included ‘Aasritha yamen allalu theerkum...’ (Radha-Jayalakshmi), ‘Poovirinju puthen poovirinju...’ (P.Leela) and the chorus led by Gokulapalan ‘Saranam Ayyappa swami...’

Will be remembered: As the first film on the legend of Lord Ayyappa and Sabarimala. The debut film of Kottayam Shantha and for the music, especially for the lullaby ‘Swargam kaninju jagathinnu thanna...’

Koodappirappu (1956)

Prem Nawaz, T. S. Muthiah, Muthukulam Raghavan Pillai, Ambika, Kumari Thankam, Aranmula Ponnamma, Adoor Pankajam

Musical milestone Prem Nawaz and Ambika

It was in this film in 1956 that Vayalar Rama Varma, one of the most powerful poets in the language, made his debut as lyricist. Vayalar, as he came to be known popularly, went on to reign supreme for over two decades. ‘Koodappirappu,’ produced under the banner of Khadeeja Productions and directed by J. D. Thottan, will always be remembered for this. In his very first film itself, Vayalar impressed with his rich poetic imagination that was conveyed through simple language.

The film also saw the entry of Prem Nawaz, brother of Prem Nazir, and Ambika, member of the Travancore Sisters family. She had made her Malayalam debut in the1952 film ‘Vishappinte Vili,’ but it was in this film that she carved a niche for herself. It was also her first film as heroine. ‘Koodappirappu’ also saw the debut of director J. D. Thottan and script-writer Ponjikkara Rafi.

The story was a tearjerker with a generous mix of all ingredients needed for a typical commercial film. However, the film could make no claim for artistic value or technical perfection. The only saving grace was the songs.

Muthukulam Raghavan Pillai, who wrote the story, picked up a few characters from some of the successful Tamil films of the time, placed them in the story that was set in the pattern of family dramas, far removed from and stretched out from reality. ‘Koodappirappu’ was just an average success at the box office.

The film tells the story of two brothers Rajan (Prem Nawaz) and Kesavan (T. S. Muthiah), sons of a poor widow Kalyani Amma (Aranmula Ponnamma). The only source of income of this middle class family is a grocery shop run by Kesavan. In order to give his younger brother the best in life and education, Kesavan even gives up his dream of marriage.

Parvathi (Ambika), the daughter of Kalyani Amma’s cousin, is Rajan’s childhood friend. Their friendship turns to love and they decide to get married.

In the meanwhile, Rajan leaves the village for higher education. Parvathi becomes pregnant. In the city, Rajan falls into the company of a professional singer Latha (Kumari Thankam). Kesavan goes to the city to bring back Rajan to the village and get him married to Parvathi. But Kesavan is insulted by Rajan and sent back. Kesavan stops sending money to Rajan. However, Rajan is thrown out by Latha and that brings him to his senses. He returns to the village, falls at the feet of his elder brother, marries Parvathi and brings the film to a happy end.

T.S. Muthiah excelled in his role as Kesavan. Ambika impressed with her charm, looks and talent. The performance of other actors was average. Prem Nawaz, as hero, failed to make an impact. There were 10 songs penned by Vayalar and a Swati Tirunal kriti in the film. Music by K. Raghavan complemented the lyrics. The songs by Vayalar fitted the situations and characters perfectly.

The solo by Santha P. Nair ‘Thumbi thumbi vaa vaa…,’ a romantic solo by A. M. Raja, ‘Maanasa rani…,’ one of M. L. Vasantha Kumari’s best songs in Malayalam ‘Mani varnane innu njaan kandu sakhi...,’ a duet by Raja and Santha P. Nair ‘Angadiyil thottu madangiya ...’ became instant hits. Raghavan dispensed with the practice of imitating other language tunes.

Will be remembered: As the first film of poet-lyricist Vayalar Rama Varma, Prem Nawaz, director J. D. Thottan and script-writer Ponjikkara Rafi. Ambika madder her debut as heroine. The film will be remembered for the hit songs.

B.VIJAYAKUMAR

Kandam Becha Kottu (1961)

IN COLOUR Prem Nawaz with Thikkurissi and Ambika in the film

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

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

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

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

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

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

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

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

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

Neelakkuyil (1954)

AWARD-WINNING Sathyan and Prema in Neelakuyil

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

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

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

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

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

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

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

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

Achan (1952)

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

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

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

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

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

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

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

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

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

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

Sasidharan (1950)

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

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

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

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

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

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

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

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

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

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

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

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