Rosy (1965)

P. J. Antony, Prem Nazir, Thikkurissi Sukumaran Nair, Kaviyoor Ponnamma

 REALISTIC THRILLER P. J. Antony with Kaviyoor Ponnamma and Prem Nazir in the film  
Produced by Mani under the banner of ‘Vrindavan Pictures,’ ‘Rosy’ was the first directorial venture of P. N. Menon. The script and dialogues for this crime-melodrama by P. J. Antony was based on a story authored by the director himself. Unlike earlier crime thrillers in Malayalam like Avakasi (1954), CID (1955), Jailpully (1957), Poothali (1960) that were unrealistic with several twists simply introduced for entertainment, the storyline of ‘Rosy’ was closer to real life.

The film was not a huge hit. One reason must have been that the usual ingredients like dances, stunts, comedy etc. were not incorporated in the film. In fact, the film completely dispensed with comedy scenes and comedians.

P. J. Antony was the hero of the film. Prem Nazir also had a main role in the film. ‘Rosy’ is one of the very few films in which Kaviyoor Ponnamma acted as heroine.
The film maps the consequences of an unintentional murder committed by the hero in a very realistic way. The script and dialogues penned by P. J. Antony were impressive. The whole story was picturised in the backdrop of remote villages and forests.

Having unintentionally murdered a man to save his sister’s honour, Thoma (P. J. Antony) flees. He finds shelter in the hut of a fisherman, Ouseph (T. S. Muthiah). Thoma helps Ouseph in his job and days pass by. Ouseph’s daughter Rosy (Kaviyoor Ponnamma) falls in love with Thoma. Thoma conceals his past from all of them.

Ouseph becomes furious when he comes to know about Rosy’s love affair with Thoma and asks him to leave his house. Ouseph’s neighbour Kasim (D. K. Chellappan), his daughter Nabeesa (Vijaya Nirmala) and her lover Salim (Prem Nazir) support Rosy. They succeed in getting Ouseph’s consent for the marriage of Rosy and Thoma. Kasim, Nabeesa and Salim leave for another village to start a business there.

Rosy and Thoma lead a happy married life. That was when a police officer, Sankaran Nair (Thikkurissi Sukumaran Nair) happens to see Thoma. Thoma runs away from the village along with Rosy. They seek shelter in the village where Kasim had settled. Thoma reveals his past to Rosy, Kasim and his family. They take pity on him. Thoma gets a job in the forest, Rosy becomes pregnant. Days pass and Rosy’s health deteriorates. Nabeesa nurses her.

The arms of law reach the forest in search of Thoma. Rosy dies during childbirth. Thoma buries his family and surrenders before the police.
The film stood out for its technical perfection. Sound recording by ‘Revathi’ Kannan and Jagannathan; editing by Venkatraman and Mani; and camera work by E. N. Balakrishnan was praise worthy.

P. J. Antony and Kaviyoor Ponnamma excelled in their roles. The drunken scenes involving Ouseph (Muthiah) and his aide raised a few laughs. Thikkurissi and D. K. Chellappan also impressed.

All the five songs in the film, penned by P. Bhaskaran and set to tune by Job, were hits. The all-time romantic hit, ‘Alliyambal kadavil annu...’ sung by K. J. Yesudas, is considered one of his best. This song is easily the best of the film songs created by Job, who has only a handful of film songs to his credit. The romantic duet by Udayabhanu and L. R. Easwari, ‘Kannil enthaanu...’ was a unique in that Udayabhanu whispers melodically. This song also became a super hit. The folk song modelled on ‘Pulluvanpattu’ sung by P. Leela ‘Engilo pandoru...,’ the Easwari solo ‘Chalakudi puzhayil...,’ and the song ‘Velukkumbam puzhayoru...’ sung superbly by Yesudas and chorus, are all songs that linger in memories even after four decades.

Will be remembered: As the directorial debut of P. N. Menon. It will also be remembered for its excellent music and as a well-directed crime-melodrama.

Aadyakiranangal (1964)

Sathyan, Madhu, P. J. Antony, Adoor Bhasi, S. P. Pillai, Master Ajith, Ambika, K. R. Vijaya, Philomina etc.

CHRISTIAN SOCIAL K. R. Vijaya and Madhu in ‘Aadyakiranangal’  
Released in 1964 this film was one of the regional films to receive the Certificate of Merit at the National film awards that year. Several movies with social themes were released in Malayalam during 1950s and 1960s. ‘Adyakiranangal’ is considered as the first Christian social made in the language.

The film was an adaptation of a popular novel under the same title authored by K. E. Mathai popularly known by his pen name, ‘Parappurath’. The film was jointly produced by P. Bhaskaran and V. Abdulla. The script and dialogues was by Thoppil Bhasi and the film was directed by P. Bhaskaran. Primarily a social movie, national integration goals like rural development, eradication of alcoholism, etc. were set as side tracks. The presence of super stars of the time, Sathyan, P. J. Antony, Madhu, Ambika and others added star value to the film. The film was mainly shot at Vauhini Studios making use of splendid sets. Some of the scenes were shot outdoors like those in the forest and a raging wild fire.

The story of the reformation of a delinquent hero to a family man is set in a remote village called Aanachaal, on the outskirts of a forest. Kunjukutty (Sathyan) is the eldest son of a rich landlord Kariachan (P. J. Antony). Kariachan is also the president of the panchayat. Kunjukuuty is a rowdy and a terror in the village. Avaran (S. P. Pillai) and his group support Kunjukutty in all his activities. Kunjukutty’s mother Annamma (Philomina) feels that a married life would transform her son and begins planning for his marriage. One such proposal for marriage is rejected by Marykutty (K. R.Vijaya), an educated girl from a neighbouring village. Kunjukutty considers this an insult.

Kunjukutty gets married to Gracy (Ambika). The marriage does not change him and his activities. Gracy gives birth to a baby boy whom they name Joymon (Master Ajith). Kunjukutty starts stealing money from his own house. Disputes and quarrel with his parents on account of his misdeeds leads to Kunjukutty’s expulsion from home. He leaves home with Gracy and Joymon and stay in a separate house. Marykutty gets selected as Gramasevika (Village Assistant) and she is posted to Aanachaal.

Pappachan (Madhu), younger son of Kariachan, who was in Singapore returns home. Pappachan falls in love with Marykutty. Gracy becomes pregnant again. Kunjukutty and his group plan to cut of wood from the forest illegally to meet their financial needs. The forest guards chase them and Kunjukutty and his group escape by igniting a forest fire. They hide in a forest.

Gracy’s health worsens. Marykutty nurses her. She decided to pledge her ornaments to raise money for Gracy’s hospitalisation. For this she travels to the neighbouring village to meet the moneylender. On the way she faints when she sees a wild elephant. Kunjukutty saves her life.
Kunjukutty come to know about the noble work of Marykutty and her selfless service to his family. Kunjukutty realises his mistakes and is reformed. He even gets into a quarrel with his group when he comes to know of their selfish motives. In the ensuing quarrel he is seriously injured. Marykutty nurses him. Rumours are spread that Marykutty and Kunjukutty were in the forest together, there was an illegitimate relationship between them. Kunjukutty comes forward to clear the air.
Marykuty opts for a transfer to her village, but Pappachan stops her from this. He marries Marykutty.

The dialogues of the film were impressive. There were also some heart-rending scenes. The film dispensed with the usual melodramatic and unrealistic scenes.
The comic scenes involving Adoor Bhasi as Krishnan Asan, a Kathaprasangam artiste was one of the main attractions of the film. Adoor Bhasi sang for the first time in his own voice. The few parody songs became instant hits.

Sathyan as Kunjukutty excelled. Ambika and K. R.Vijaya also impressed. Adoor Bhasi’s role in the film is considered as one of his best comic performances. P. J. Antony, Philomina, and S. P. Pillai, who acted in a negative role, also did full justice to their roles.
There were 11 songs in the film penned by P. Bhaskaran that includes the parodies sung by Adoor Bhasi. The music was composed by K. Raghavan (K. Raghunath in the title cards) was excellent and the songs still remain popular. The patriotic number ‘Bharathamennaal parin naduvil...’ sung by P. Susheela and chorus is considered as one of the best songs in the genre.

The romantic numbers like ‘Pathivaayi pournami thorum…’ (Susheela), ‘Malamoottil ninnoru maappila...’ (K. J. Yesudas) and ‘Kalyana mothiram kaimarum neram...’ (P. Leela) turned super hits.

A lullaby that narrates a traditional children’s tale, ‘Oonjale ponnoonjale, muthyamma muttaittu... (Leela) remains one of the best lullabies in Malayalam cinema. Another children’s song ‘Kizhakku dikkile chenthengil...’ (A. P. Komala) is the best rendered by the singer in the language.

Even the parody numbers sung by Adoor Bhasi became popular, particularly those that sing about a bus journey, ‘Kannur Dharmadam....poroo poroo Keralam kanaan...’

Will be remembered: As a film with a good social theme. For its excellent music and Adoor Bhasi’s debut as playback singer. The film will also be remembered as one that won National honours (Certificate of Merit).

Nirmala (1948)

Playback singing in Malayalam films was introduced with this film


The fourth talkie in Malayalam, ‘Nirmala’ introduced playback singing to Malayalam cinema. The singing heroes and heroines of Malayalam cinema, who had cut their teeth in musical operas returned to the stage. They found theatre much more beneficial as a career than cinema, which at that time was made on shoe-string budgets.
It was during such a phase that playback singing was brought into Malayalam cinema. ‘Nirmala’ provided a perfect start to a technique that soon became an integral part of cinema.

Playback singing was introduced in Indian cinema by ‘New Theatres’ in the bilingual film ‘Dhoop Chaon’ (Hindi) and ‘Bhagya Chakra (Bengali) in 1935. Suprova Sarkar became the first female playback singer and K. C. Dey, the singing star who acted in the scene in this film sang for himself and for another actor in the sequence, became the first male playback singer. In the South, A. V. Meiyyappa Chettiar introduced playback singing in the mythological Tamil film ‘Nanda Kumar’ (1938). In this film a classical singer, Lalitha Venkatraman and in Telugu M. S. Rama Rao who sang in the film ‘Devata’ (1941) are credited of being the first playback singers in their respective languages.
‘Nirmala’ was produced by Artist P. J. Cherian, one of the pioneers of Malayalam musical opera or sangeeta natakam. Produced under the banner of Kerala Talkies, Cherian got financial support from the members of the Cochin Royal family and the general public. The film was directed by P. V. Krishna Iyer.

It was based on a story penned by M. S. Jacob and dialogues were by Puthezhathu Raman Menon. The songs were by Mahakavi G. Sankara Kurup and set to music by P. S. Divakar, a renowned saxophone player, and E. I. Warrier. The music dispensed with the usual practice of imitating other language film tunes. The technical crew were all experienced professionals like cinematographers J. G. Vijayam and G. Ranganathan, sound recordists K.B.S. Mani and S Padmanabhan, and editor Balu. Despite all this the film failed at the box office.

This film could be considered Cherian’s family project. His son Joseph Cherian was cast as hero, Joseph’s wife and Baby was the heroine. Apart from this his daughters, other relatives and artists from his own drama troupe were part of this film.

The story of the film followed a typical formula often repeated in movies with social themes. This repetition of theme was considered one of the main reasons for the film’s failure.
Produced at Modern Theatres, Salem, there was undue delay in completion. This delay in release also adversely affected the success of the film. It could not be released on the scheduled date, it failed miserably reducing the producer to penury.

The story centres around a fisherman Sankaran who loses his wife struggles to bring up his two daughters Nirmala (Baby Joseph) and Vimala. Sankaran’s sister Kalyani looks after the family. Sankaran meets with an accidental death while on a fishing expedition. Nirmala becomes a fish vendor. But the constant pestering by some city wastrels forces her to stop this only source of living. She then starts a food stall near the house. Time passes.
Vimala grows up as a girl fond of luxuries in life. Her eyes fall on a colourful sari in a nearby shop. On her way home after attending a function Vimala falls into a gutter as she tries to step away from a speeding car.

Vimala develops high fever and in her semi-conscious state murmurs about that sari. Nirmala goes to shop to buy it but is shocked by the high price. In a weak moment she steals the sari but is arrested for the theft. Police Inspector Raghu takes pity on Nirmala when he comes to know of her state. Nirmala is sentenced for one month imprisonment.
At home Vimala’s health worsens. Raghu takes care of her and even gets her the sari she always wanted. Before Nirmala is released, Vimala dies. Raghu falls in love with Nirmala. In the meanwhile, Ms. Rayan, a wealthy woman, appoints Nirmala to teach music to her daughter Lalitha.

Ms. Rayan’s son, Balan, a naval officer, falls for Nirmala and wants to marry her. When he comes to know about Nirmala’s love for Raghu, he withdraws from his intention. He helps to conduct their marriage. Balan marries Sumitra, daughter of Kumar, their family friend. The film ends wishing all newly married couples a happy married life.
Joseph Cherian and Baby Joseph excelled in their rols. All the other main characters were handled with ease by experienced stage artistes.

There were 12 songs in the film. Some of them have stood the test of time. ‘Paaduka poonkuyile kaavu thorum...’ (T. K. Govinda Rao-P.Leela), ‘Arabikkadalile kochurani...’ (Govinda Rao), ‘Neerile kumilapole...’ (Govinda Rao) are still popular. The song ‘Arabikkadalile kochurani...,’ a ragamalika, describes the beauty of Cochin city of yore. ‘Aettan varunna dinamey...’ (Vimala Varma) set in Mohanam raga was a hit of that time. A ‘vanchippattu’ sung by P. K. Raghavan beginning ‘Pacha ratna talika...’ was also very popular. This song is considered the first in that genre.

Govinda Rao and Sarojini Menon, who sang in this film, became the first male and female playback singers in Malayalam.

Will be remembered: As the first Malayalam film to introduce playback singing. First film of singers, T. K. Govinda Rao, P.Leela and Sarojini Menon.

It will also be remembered as the film, the only one, for which the Jnanpith Award winner G Sankara Kurup wrote songs.

Balan (1938 )

K K Aroor, Master Madanagopal, M V Shanku, K Gopinath, Alleppey Vincent, C O N Nambiar, M K Kamalam, K N Lakshmi, Baby Malathi etc.

Pathbreaking effort A scene from Balan, the first Malayalam talkie

The first film with sound (talkie) in Malayalam ‘Balan’ should have been the first film, chronologically, to be featured in this column. Released on January 19, 1938, this film had a social theme unlike the earlier films with sound in the other South Indian languages, which chose episodes either from history or mythology. While the first talkie in Tamil ‘Kalidas’ (1931) was based on the life of the poet, ‘Bhakta Markandeya’ (1931) in Telugu and ‘Dhruvakumar’ (1934) in Kannada had mythological themes.

‘Balan’ was produced by T. R. Sundaram at his Modern Theatres in Salem. Fascinated by cinema a Nagercoil man A. Sundaram reached Madras with a dream of making a sound film in Malayalam. The story of this film ‘Vidhiyum Mrs. Nayarum’ was authored by him. Sundaram met T. R. Sundaram who advised him to approach the cinema theatre owners in Kerala to mobilise funds for production. This idea clicked. An advertisement appeared in leading news papers inviting artists to act in the film. The shooting of the film started on August 17, 1937, at Modern Theatres. A. Sundaram abandoned the project due to some dispute. T. R. Sundaram took over and completed the film.

The film was directed by Shewakram Nottani, popularly known as S. Nottani. Dialogues and songs were penned by Muthukulam Raghavan Pillai. Music was composed by Ibrahim, and K. K. Aroor, who also played the lead in the film.

The story features the struggle of two orphaned children, oppressed and exploited by an evil stepmother. The film was a stereotype of the themes of early Indian cinema, particularly South Indian cinema.

Balan (Master Madanagopal) and Sarasa (Baby Malathi), are children of Dr. Govindan Nair (M. V. Shanku) by his first wife. Meenakshi (K. N. Lakshmi), the second wife, tortures Balan and Sarasa. She even hatches a plot to kill them and take over the entire wealth of Nair. Meenakshi is severely punished by Nair when he comes to know of her motives. Nair dies of heart attack. Meenakshi marries a wicked city wastrel Kittu Panicker (K. Gopinath). Balan and Sarasa flee from home as a result.

Barrister Prabhakara Menon (C. O. N. Nambiar) gives refuge to Balan and Sarasa and brings them up as his own children. In the will executed by Nair before his death, all his wealth is assigned to Meenakshi on condition that she take care of his children.

When Meenakshi and Kittu Panicker come to know about the stipulations in the will, they trace out the children. Kittu Panicker kidnaps the children from Prabhakara Menon’s home. Shanku (Alleppey Vincent) comes to know about the plans of Meenakshi and Kittu Panciker and rescues the children. He uses them in street shows. Balan and Sarasa escape from Shanku. Sarasa is taken away by a labour contractor while Balan is asleep. She is forced to work in an estate. Sarasa (M. K. Kamalam) grows up here. Balan (K. K. Aroor) also reaches the same estate as a labourer.

This estate is owned by Barrister Prabhakara Menon.

Prabhakara Menon identifies Balan and Sarasa. Balan traces out the will executed by his father and Prabhakara Menon files suit against Meenakshi. She is tried by the court of law and punished. A furious Meenakshi shoots Prabhakara Menon, but the bullet from the pistol takes the life of Balan who jumps in between to save Menon. Menon marries Sarasa. They name their son, Balan. The film ends with Menon, and Sarasa paying homage at the tomb of Balan.

‘Balan’ was a huge hit. The splendid sets, camera by the German cinematographer Bado Gushwalker, sound recording by Ishwar Singh and editing by Varghese were good. All the artists who performed in the film were new to this medium. The acting was not natural, and resembled more of a stage play.

Compared to Tamil sound film, ‘Kalidas’ the Malayalam film is regarded much better by film critics. ‘Balan’ had an original script and dialogues in Malayalam, whereas in ‘Kalidas’, the artists spoke in their own mother tongue deviating from the original script and dialogues. The different characters spoke in Tamil, Telugu, Kannada, and Hindi!

It is quite sad that not even a single frame from the footage of this first Malayalam sound film is available now. What is left of this film are a few stills from the film and the songs book.

There were 24 songs in the film. Most of them followed popular Hindi and Tamil film tunes of the time. Gramophone records of the songs were not produced. The most popular song was a solo by M. K. Kamalam ‘Jaathaka doshathale...’ It was a direct copy of the solo by M. K. Radha from the Tamil film ‘Sathi Leelavathi’ (1936). ‘Theyila thottathle...,’ the Tamil song based on Chenjurutti raga became so popular that it was later sung by Carnatic musicians in concerts.

Will be remembered: This film will be remembered as the first talkie in Malayalam.

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.