Kodungallooramma (1968)

Prem Nazir, S. P. Pillai, Adoor Bhasi, K. R. Vijaya, Jyothilakshmi etc

Epic story P. Kannamba as Kannagi in the Tamil version of the epic
The Malayalam film ‘Kodungallooramma' was an adaptation of the legend of Kannagi, a character from the Tamil-Jain epic and morality tale ‘Chilappathikaram' written by ancient Tamil poet Ilango Adigal during 1st century AD. The story is about the revenge of Kannagi against the injustice inflicted to her husband Kovalan by the ruler of the Pandya kingdom.

The legend of Kannagi was staged as musical operas throughout South India.

The first known musical opera based on the epic was ‘Kovalan Charitham' (1914) written by the Tamil poet and dramatist K. V. Udayara Pillai The musical opera was staged successfully throughout South India. This was perhaps the earliest Tamil musical opera to be staged in Kerala. The popular playwrights of Malayalam musical opera P. K. Velu Pillai and K. R. Neelakanta Pillai came up with Malayalam versions of this legend in 1921 and 1924 respectively. Both the stage plays were performed by prominent troupes very successfully.

In 1928 Guarantee Film Corporation produced a silent film ‘Kovalan,' directed by R. S. Prakash. This is probably the first film version of the ancient Tamil epic. The very next year General Pictures Corporation came up with a silent version of the story titled ‘Kovalan' or ‘The Fatal Anklet,' directed by A. Narayanan. The Tamil film produced by Imperial Film Corporation in 1933 with Leela and Narasimha Rao in the lead roles was the first sound film based on the epic story.

The Tamil film ‘Kannagi' (1942) produced by Jupiter Pictures and directed by R. S. Mani is considered as the best film adaptation of the epic. The performance of the singing star of early Tamil and Telugu cinema, Pasupaleti Kannamba as Kannagi remains her best and perhaps one of the best in the history of Tamil cinema. The character of Kannagi is figured in popular legends in Tamil Nadu and Sri Lanka and was subjected to various mutations down the centuries in poetry and theatre. But as an icon, Kannagi came to be identified with P. Kannamba's image after the tremendous success of the 1942 film. Even some of the statues of Kannagi that adorn junctions and public places in Tamil Nadu seems to have been modelled on Kannamba. In 1964 Kannagi's story was remade in Tamil as ‘Poompuhar' with M. Karunanidhi's script and dialogues. However, the performance of Vijayakumari as Kannagi did not impress. The film flopped. The impressive dialogues written by Karunanidhi for the film is reflected in those written by Jagathi N. K. Achari for the Malayalam film ‘Kodungallooramma'. The film was directed by M. Kunchacko.
The story of the Malayalam film deviates from the Tamil epic ‘Chilappathikaram' and the various film and stage versions in certain aspects. In some of the film versions Kannagi is portrayed as the incarnation of goddess Parvathi who was made to descend to the earth following a curse by Lord Shiva. There is no such mention in the Malayalam film. Further, the Malayalam film co-relates the epic story with the history of the famous temple at Kodungalloor where the presiding deity is Bhagavathi. The special effects scenes in which the city of Madurai is set to fire failed to impress. The music composed by K. Raghavan (Raghunath in the title cards) was the highpoint of the film.

The film opens with a scene where devotees are seen worshipping the goddess at the famous Kodungalloor Bhagavathi Temple. The story of Kannagi follows as the flash back. Kovalan (Prem Nazir), the son of a wealthy merchant (Thikkurissi) of Kaverippoompattanam in the Chola kingdom marries Kannagi (K. R.Vijaya), a woman of legendary beauty. The young couple live happily until Kovalan meets a dancer Madhavi (Jyothilakshmi) and falls in love with her. In his infatuation for the dancer Kovalan forgets his wife and gradually spends all his wealth on Madhavi.




K. R. Vijaya as Kannagi in the Malayalam version
Kovalan becomes penniless and is expelled from Madhavi's house. Kannagi, the loyal wife, receives her husband. They leave their hometown and reach the neighbouring Pandya kingdom. The only asset left with them is Kannagi's anklets filled with precious stones. Kannagi offers to sell one of her anklets to help Kovalan start his business.

The anklet of the Pandya Queen is stolen. Kannagi's anklet, which Kovalan attempts to sell, is mistaken to be that of the Queen's. Kovalan is arrested and brought before the royal court. Kovalan is beheaded by royal command. Kannagi avenges herself by proving the king was mistaken. While the Queen's anklet was filled with pearls Kannagi's anklet was filled with rubies. The king and the queen die of remorse. Kannagi in her anger sets the entire Pandyan capital town of Madurai to fire. She leaves the Pandya kingdom and reaches the neighbouring Chera kingdom. King Chenkuttavan, of the Chera kingdom, worships Kannagi and builds a temple for her at Kodungalloor. The film ends with a scene showing Kannagi as the presiding deity in the temple.

The Kodungalloor episode in the legend of Kannagi, as shown in the Malayalam film, has no reference in the Tamil epic or in any historical document. It remains just an ancient belief. There is no similar reference in any of the earlier stage or screen versions of the epic.

K. R. Vijaya's performance as Kannagi was impressive, but of course, was no match to the classic performance of P. Kannamba. The comedy scenes involving Adoor Bhasi, S. P. Pillai, Adoor Pankajam etc. adversely affected the highly charged and sentimental theme of the film. And all these scenes were just repetitions from earlier films. The climax, where Madurai town is shown engulfed in flames was not effective. The film was released on November 22, 1968, to coincide with the annual Sabarimala pilgrimage season. Despite all this the film did not really click.

The seven songs written by Vayalar Rama Varma were set to music by K. Raghavan. All the songs turned hits. The romantic number "Manju bhashini ..' (K. J. Yesudas), the soulful solo ‘Bhadradeepam ...' (S. Janaki) and the group song led by M. Balamuralikrishna ‘Kodungallooramme ...' became very popular. The other hits include ‘Rithukanyakayude...' (P. Susheela), ‘Kaveri poompattanathil...' (Balamuralikrishna-Susheela ),
‘Udayasthamanangale...' (Yesudas) and ‘Narthaki nisha narthaki...' (Yesudas-P. Leela).
Will be remembered: As the Malayalam film on the history of the Kodungalloor temple. And for its timeless music.

Vanamala (1951)

'Vanamala' is considered the first ‘jungle movie' in Malayalam. Movies of this genre were hugely inspired by Tarzan created by Edgar Rice Burroughs.

The silent movie ‘King of Forest' (1926) produced by Royal Arts with Jilloo Bai and Udvadia in the lead roles was probably the first Indian movie in this genre. ‘Jungle Queen' (1936), ‘Jungle King' (1939), ‘Jungle Princess' (1942) etc. are some of the early Hindi films with similar plots. Most of these adventure movies did well at the box office. Stunt actors like John Cawas and ‘Fearless' Nadia were integral parts of such movies.

The Tamil film ‘Vanaraja Karzan' (1938) produced by Wadia Movietone jointly with Madras United Artists Corporation was the first ‘jungle movie' from the South. The film was a hit and remade in Hindi as ‘Jungle King.' John Cawas acted as hero in both the films. ‘Vanamohini' (1941) produced by South Indian United Artists Corporation,' directed by the Hindi comedian-producer Bhagawan was a runaway hit. The glamour girl of the time K. Thavamani Devi's performance was a highpoint. The Tamil film ‘Toofan Queen' (1940), though not strictly a ‘jungle film' had a story set in the backdrop of the forest.

The success of such film must have inspired the producers, V&C Productions, to make the Malayalam film ‘Vanamala.' The story of the film was written by its director, G. Viswanath. The dialogues were by the popular playwright Munshi Paramu Pillai. The lyrics by the eminent writer P. Kunjukrishna Menon and music was composed by P. S. Divakar.

‘Vanamala' had P. A. Thomas and debutant Neyyattinkara Komalam, who was cast in a Lady Tarzan kind of role. Stage artistes essayed the other important roles. The comic track that had S. P. Pillai was impressive. The film also had an elephant ‘Baby Lakshmi' and most of the billboards of the film featured this elephant.

The film was shot at Udaya Studios using sets. Only a few scenes were shot near Pechippara Dam, near Marthandam. Most of the scenes involving wild animals were lifted from foreign films.

The story of the film revolved around the Zamindar of ‘Vasantha Vilas' (Kandiyoor Parameswarankutty) and his daughter. The girl, named Mala, was born after many years of marriage. When Mala was born her father had a chain put on her neck with a locket engraved with her name. The Zamindar had once promised his Secretary Prasad (Muthukulam Karthikeyan Nair) that he would adopt his son Ashokan as his heir. But the birth of Mala changed the equations. Prasad engages his faithful servant Babu to kill Mala. But instead Babu abandons the girl in a forest.

Here Mala is looked after by a tribal couple and an elephant. They girl grows up as Nalini (Neyyattinkara Komalam). The elephant becomes her companion.

The zamindar shifts his residence to his Sivalokam estate on the outskirts of the forest. Prasad and his son Ashokan (P. A. Thomas) also accompany the Zamindar. Ashokan and Nalini meet each other in the forest and fall in love. Prasad recognises Nalini by the locket on her chain. He fears that if Nalini is left to live his son Ashokan would lose the right of inheritance. Prasad also comes to know that Ashokan and Nalini are in love. All his attempts to separate them are in vain. Prasad requests Ashokan to leave the estate but he stays in the forest in disguise.

Prasad makes an attempt to kill Nalini but is thwarted by Ashokan. In the melee that ensues Nalini stabs Prasad to death. Before he dies Prasad reveals to the Zamindar that Nalini is none other than his daughter Mala. The Zamindar gives his daughter's hand in marriage to Ashokan.

There were nine songs in the film. Most of them were copies of Hindi tunes. The solo by Jikki, ‘Thalli thalli haa ...' was a direct lift of the popular duet ‘Gore gore O baanke...' by Lata Mangeshkar and Ameerbai Karnataki from the Hindi film ‘Samadhi' (1950). And incidentally this was Jikki's first Malayalam film song. The other hits were, ‘Ullam thulli vilayodiyithu...' (Jikki), ‘Aho vidhiyo...', ‘Haa imbam kolka naam...' (by Jikki and Mehboob). .

Will be remembered: As the first ‘jungle movie' in Malayalam. As the debut film of Neyyattinkara Komalam, director G .Viswanath, lyricist P. Kunjukrishna Menon, singer Jikki and cameraman Arumugham.

Thulabharam (1968)

Sharada, Sheela, Prem Nazir, Madhu, Thikkurissi, Adoor Bhasi, Adoor Bhavani etc

Realistic telling A scene from the film which got Sharada the National Award for the best actor


The Malayalam stage play ‘Thulabharam,' written by Thoppil Bhasi in 1968 was a thundering hit. The unusual political drama that focussed on the blacklegging in trade unions and the villainous ways of the management of factories to suppress labour activities proved to be a successful recipe. The popular drama troupe, KPAC, staged the play throughout the country.

Supriya Films came with a screen version of this highly emotional drama the same year under the same title. And not surprisingly it became a huge hit.

Popular stars of the time like Prem Nazir, Madhu, Thikkurissi, Adoor Bhasi, Sharada, Sheela, Adoor Bhavani and others came up with stellar performances. The film also had some fine songs from the hit-duo Vayalar-Devarajan. The film won for Sharada the National film award for best actress. It was also adjudged the second best film of the year.

The film focussed on some of the undesirable features among political and trade unions, resultant labour issues. It portrayed a realistic picture of the working class that often falls prey to the evil of the Management-Trade Union disputes in factories.

The stage play adopted the Sanskrit drama style of ‘Vishkambam' wherein the story is told as a flashback. The film also starts with a court scene with the heroine narrating her hapless story. This was a deviation from the usual storytelling method.

The dialogues written by the dramatist himself for the film were impressive. The film is considered one of the best directorial venture of A. Vincent. Shot at AVM and Vikram Studios, the camera was handled by Bhaskar Rao and Venkitraman was the editor. The film stood out for its technical excellence.

Following the great success of the Malayalam film, the story was remade in Tamil, Telugu and Hindi with Sharada as the heroine in all the versions. In the Tamil version, titled ‘Thulabharam' she was paired with AVM Rajan, in Telugu with Shobhan Babu and in Hindi with Ajay Sahni. The Tamil version also was directed by Vincent and the other two language versions, ‘Manushulu Marali' (Telugu) and ‘Samaj Ko Badal Dalo' (Hindi) by Madhusudana Rao. All the versions closely followed the original script and dialogues written by Thoppil Bhasi. They also did well at the box office. Vijaya (Sharada) and Valsala (Sheela) are college mates and are close friends. Vijaya's father R .K. Menon (Thikkurissi) is a factory owner and Valsala's father Achuthan Nair (Adoor Bhasi) a leading advocate. Menon is swindled by his manager and loses ownership of the factory. He dies following a heart attack. Vijaya's beau Babu (Madhu) also abandons her. Achuthan Nair who was Menon's advocate also does not come to Vijaya's help. Ramu (Prem Nazir), a faithful labourer of the factory marries Vijaya. They lead a happy life despite all the hardships. Ramu is the leader of the labour union. In the meanwhile, Valsala enrols as a student of Law.

Years roll on. Vijaya is now mother of three children. Due to trade union disputes the factory is closed down and Ramu loses his job. He tries to get the factory re-opened with the support from the Government. One day Ramu is stabbed to death by the goons hired by the management. Vijaya and children are orphaned. The children also take to begging for a living. When Vijaya comes to know of this she punishes them.

People now begin to hound Vijaya. Rumours are spread about her morality. Even her mother-in-law turns against her. Poverty drives her son to steal a loaf of bread from a tea shop. The shop owner burns the face of the boy with a red hot ladle. Vijaya can take it no more. She decides to kill herself and her children. She feeds her children with poisoned food. The children die but Vijaya survives. The law proclaims Vijaya a murderer. She is taken to court. Here her friend Valsala, now Public Prosecutor, appears for the Government. The murder case is proved. Vijaya narrates her story to the court. The film ends with a question directed to the law and society at large about the terrible circumstances, the unbearable cruelty of the society that provokes a mother to kill her own children.

Sharada excelled as the struggling mother. Her stunning performance, especially in the climax, is often compared to that of Nargis in the classic ‘Mother India' (1957). Deviating from his usual romantic roles, Prem Nazir came up with a commendable performance as the trade union leader. Madhu, Sheela, Thikkurissi, Adoor Bhasi and the others also did justice to their roles.

The music was superb. All the six songs written by Vayalar and tuned by Devarajan became hits. ‘Kaattadichu kodum kaattadichu...' (K. J. Yesudas), the lullaby ‘Omanthingalin Onam...' (Yesudas-P. Susheela), the romantic number ‘Thottu thottilla... ‘ (Yesudas), the dance song ‘Bhoomidevi pushpiniyayi....' (Susheela-B.Vasantha), ‘Prabhata gopura vaathil ...' (Yesudas-Janaki) and ‘Nashtappeduvaan vilangukal…' (Jayachandran & chorus) are still popular.

Will be remembered: As the film that won National awards, second best feature film of the year and the Urvashi Award for best actress for Sharada. And for its timeless music.

School Master (1964)

Thikkurissi Sukumaran Nair, Aranmula Ponnamma, Prem Nazir, T. S. Muthiah, Balaji, Ragini, Ambika, Kalpana etc.

A MORAL TALE Sivaji Ganeshan and Sowcar Janaki in a scene from the film.

Released in 1964, School Master focussed on undesirable practices of school managements. A successful social film it propagated integral morals and glorified the teacher-student relationship.

The story, on which a series of films were made, was originally written by popular Marathi poet, actor, scenarist and lyricist, Gajanan Digambar Madgulkar popularly known as G. D. Madgulkar. The first film version was Oon Paoos (1954) in Marathi. The film was a tremendous success and went on to become a landmark in Marathi cinema.

Popular Kannada film producer, actor, director and founder of ‘Padmini Pictures,' B. R. Panthulu came up with film versions of this story in various languages. In 1958 School Master (Kannada), Engal Kudumbam Perisu (Tamil) and Badi Pantulu (Telugu) were directed by him. In 1959 ALS Productions remade the story in Hindi as School Master, again directed by Panthulu. In 1973 once again the same story was filmed in Tamil.

All the film versions about an old school master and his noble attempt to transform the students of his native village were hits at the box office. B. R. Panthulu himself acted in the role of the central character of the school master and the popular Kannada-Tamil actress M. V. Rajamma as his wife in all the films except the 1973 Tamil version in which Gemini Ganeshan and Sowcar Janaki took the main roles.

Dialogues for the Malayalam film were written by noted novelist Ponkunnam Varkey. It closely followed the original script and dialogues written by Kanagal Prabhakara Shastry for the 1958 Kannada version as it was in the case of the other film versions of the story.

Popular stars of the time, like Prem Nazir, Balaji, Ragini, Ambika, Muthiah et. al. were roped in for the film. Thikkurissi Sukumaran Nair played the central character, the school master and Aranmula Ponnamma was cast in the role of his wife.

This film saw the Malayalam debut of popular Tamil actors Balaji, Sivaji Ganeshan and Sowcar Janaki. Vidhubala also began her film career in this film, as a child artiste.

The film was a huge hit. This despite the fact that both the 1958 Tamil version Engal Kudumbam Perisu and the 1959 Hindi version School Master also did extremely well in Kerala. The music composed by G. Devarajan was certainly the high point of the film.

Raman Pillai (Thikkurissi) is a committed headmaster of an upper primary school in a small village. The teacher and his wife (Aranmula Ponnamma) struggle hard to bring up and educate their sons Aniyan (Prem Nazir), Murali (Balaji) and daughter Vasanthi (Kalpana). He borrows money from private financiers and even pledges the house to raise money.

Sekharan Nair (T. S. Muthiah), the manager of the school is a crooked man. All his plans to manipulate the school activities and make money is defeated by the timely intervention of Raman Pillai. By his hard and dedicated work, Raman Pillai succeeds in upgrading the institution to a high school. But by that time, he reaches the age of retirement, and has to bid goodbye to his beloved school.

Murali and Aniyan get good jobs after their studies and they live separately in their houses with their wives. Raman Pillai conducts the marriage of his daughter Vasanthi. Now the poor school master is in abject penury and sadly his children abandon him. Creditors sue him and Raman Pillai's house is placed for auction by the court.

The school master and his wife are forced to seek shelter with their sons, the school master with one son and his wife with another.

The pangs of separation becomes too much for the aged couple to bear. They leave their shelter and wander in the streets in search of each other.

Johnny (Sivaji Ganeshan), an old student of Raman Pillai, finds his school master on the railway platform. Johnny, now a police officer, remembers with gratitude how his old teacher had led him through the right path during his school days. He buys his school master's house. Johnny and his wife (Sowcar Janaki) take Raman Pillai and his wife to the house. The school master is overwhelmed with joy when he realises that he can now live in his own house which he thought was lost forever.

Thikkurissi and Aranmula Ponnamma excelled in their roles. Prem Nazir, Balaji and Kannada actress Kalpana also came up with impressive performances. Ragini and Ambika, as the school master's daughters-in-law did justice to their small roles. A dance sequence featuring Baby Padmini went well with the audience.

Devarajan's music was simply out of the world. All the eight songs, written by Vayalar Rama Varma, turned chartbusters. The patriotic song, Jaya jaya jaya janmabhoomi… sung by K. J. Yesudas, P. Leela and A. P. Komala was the most popular of them. A children's song sung by M. S. Rajeswari, Kilukilukkum kilukilukkum... is widely considered as one of the best by the singer in Malayalam. The other hits include Paravakalai pirannirunnenkil... (P. Susheela), Ini ente inakkilikkenthu venam... (Yesudas-Susheela), Thamara kulakkadavil... (A. M. Raja-Susheela), the dance number Vaikom kayalil olam... (Yesudas-Leela), Zindabad zindabad... (A. P. Komala and chorus) and the haunting Niranja kannukalode... by P. B. Srinivas).

Will be remembered: As the debut film of director S. R. Puttanna and actress Vidhubala. As the first Malayalam film of Sivaji Ganeshan, Balaji, Sowcar Janaki and Kalpana. For its strong social message and for its excellent music.

Yachakan ( 1951 )

Aranmula Ponnamma in a scene from the film. Photo: Special Arrangement

‘Yachakan' was the last Malayalam film released during the year 1951. The film reached the theatres during Onam but the storyline had nothing to do with the festival. It did have a few dance and song sequences related to Onam. The film bombed at the box office.

Produced by K. S. Akhileswara Iyer under the banner of Kairali Productions, the film was the first directorial venture of R. Velappan Nair, a noted cinematographer of the time.

The film was an adaptation of the Malayalam novel ‘Paradeshi' authored by Dr. P.S. Nair. The novelist himself wrote the script and dialogues for the film. It was edited by K. D. George. Shot at Rathna Studios, Salem, the film had few dances choreographed by Tripunithura Madhavan Menon, which were the highlights.

Freedom fighter, leader of the Sarvodaya Movement in Kerala, and former General Secretary of Nair Service Society (NSS), M. P. Manmathan starred as hero, the only film he acted in. Popular artistes like Kottarakkara Sreedharan Nair, S. P. Pillai, Miss Kumari, Aranmula Ponnamma, Muthukulam and others provided the star value.

‘Jeevitha Nauka,' released the same year, had a sub plot relating to the rehabilitation of the mendicants. The country was slowly achieving economic progress and poverty was a burning issue. The heroine of ‘Jeevitha Nauka' is one who struggles for the rehabilitation of beggars and the film had scenes where she strives to get justice for them.

‘Yachakan' stressed on the problems faced by the society due to poverty and begging. In fact, the protagonist was a beggar. But the film failed to attract the audience.

Sudhakara Prabhu (S. J. Dev) a wealthy landlord lords over ‘Padmalayam'. The film opens with Prabhu conducting an elaborate Onam feast in his palatial house. Sathi (Miss Kumari) is the daughter of an old servant of this house who was given refuge by Prabhu when her father fled away from the city. Gopi Mohan (Kottarakkara) is the manager of ‘Padmalayam'. He has an eye on the wealth of ‘Padmalayam' and manages to win the heart of Sarojam (Ambalapuzha Meenakshi), sister of Prabhu. He is even able to manipulate the wealth with Sarojam's support. 

Sathi falls in love with Chandran (M. P. Manmathan), a beggar who is engaged in a struggle for their welfare and rehabilitation. Prabhu appreciates the noble cause for which Chandran works and supports him with generous donations. But he turns against Chandran when he comes to know that Chandran is in love with Sathi. 

Sarojam becomes pregnant and Gopi Mohan betrays her. He now tries to win over Anandam (Aranmula Ponnamma), a prostitute, and her friend Meenu (Thankam). He misleads Anandam and makes her believe that he is the landlord of ‘Padmalayam'. Gopi Mohan is expelled from the house when Prabhu comes to know about his misdeeds.

Gopi Mohan tries to molest Sathi but the timely intervention of a masked man saves the girl. Sarojam gives birth to a child and out of shame runs away from the house leaving her child at ‘Padmalayam'. 

Prabhu changes his mind when he comes to know about the true love of Sathi and Chandran. He promises to conduct their marriage. Sathi leaves home in search of Chandran. Now, a misunderstanding springs up between the lovers. Chandran suspects that Sathi is in love with Prabhu and begins to spurn her. Gopi Mohan reaches Chandran's hut and attempts to kill him. 

Again the masked man appears and saves Chandran's life. Gopi Mohan's vengeance does not end. He attacks ‘Padmalayam' with his gang and tries to molest Sathi in the presence of Prabhu. The masked man appears again and beats back Gopi Mohan.

Now to the climax of the film, which is reconcilation and clearing of all misunderstandings. Sarojam finds Gopi Mohan on the streets, seriously ill and brings him home. Chandran's foster father reveals to him on his death bed that he is none other than the elder brother of Sudhakara Prabhu, who was kidnapped by Madhu Pillai (Muthukulam) while he was a child. The child was handed over to the beggars by Madhu Pillai. 

The masked man is Kunju, who has been pretending to be the faithful servant to Gopi Mohan in order to save others from his cruel deeds. Sathi and Kunju are children of Raghu Raman, the faithful servant of ‘Padmalayam' who was forced to leave the household due various reasons. Gopi dies of illness and Madhu Pillai becomes a lunatic. Sudhakara Prabhu invites his elder brother Chandran to take over charge of ‘Padmalayam'. But Chandran refuses for his life's mission is welfare of the beggars. He leaves home with Sathi. 

Though a new comer, M. P. Manmathan impressed in the lead role. Deviating from her usual roles, Aranmula Ponnamma was cast in a negative role but did not impress. Kottarakkara performed well as the villain. 

There were 18 songs in the film. The songs included the popular poem ‘Komala Keralamey...' written by the noted poet Narayanan Nair, popularly known as ‘Bodheswaran' and another one written by G. Sankara Kurup, ‘Innu njaan naale nee..' The other songs were written by Abhayadev. Music was by S. N. Ranganathan. A romantic duet sung by V. N. Rajan and P. Leela, ‘Veeshuka neele, veeshuka neele...' became a hit. A solo sung by Rajan, ‘Swantham viyarpinaal..' also became popular. 

This was the debut film of Rajan, brother of Vaikom Saraswathi, a popular classical singer of that time. Soon after the recordings of the songs for the film, Rajan died of illness and Malayalam cinema lost a gifted playback singer. 

Will be remembered: As the only film acted by M. P. Manmathan. And as the debut film of poet Bodheswaran, producer Akhileswara Iyer and singer V. N. Rajan.

Nalla Thanka (1950)

V Dakshinamoorthy

‘Nalla Thanka' is considered as the first ‘Mega Hit' in Malayalam cinema. The film introduced legends like music director V. Dakshinamoorthy, and stalwarts of musical opera like Augustine Joseph and Vaikom Mani to tinsel world. The film also introduced comic actor S. P. Pillai and actress Miss Omana (real name N J Mary) to Malayalam cinema.

Early Malayalam cinema saw the entry of several popular stage artistes. Playback singing was not very popular and the singing stars from musical opera were preferred by film producers and directors. With the advent and popularity of cinema, ‘sangeeta natakam' began losing its prominence. Augustine Joseph and Manikuttan Nair, popularly known as Vaikom Mani, were two such singing stars who entered films through this film.

Augustine Joseph who formed the Udaya Kerala Natana Kala Samithi based in Kochi was noted for his Biblical, mythological and historical characters on stage. He was gifted with a melodious voice and was proficient in Carnatic music. The handsome actor's talents made him one of the most popular stars of musical opera. He also acted in the lead role in the Malayalam film ‘Velakkaran' (1953) and then went back to musical operas, never to come back to films again.

Vaikom Mani began acting from the age of 14. His singing and acting talents were recognised by Tamil cinema. He went on to act in films like ‘Daana Shoora Karnan' (1940), ‘Dharma Veeran' (1941) and ‘Krishnapidaaran' (1942). Songs sung by Vaikom Mani in the film ‘Dharma Veeran' turned big hits. Lyricist Sreekumaran Thampi is his son-in-law.

Music director V Dakshinamoorthy, who made his debut in this film, composed tunes for this venture along with Rama Rao, a noted Telugu music director. Most of the songs of ‘Nalla Thanka' were based on Carnatic ragas.

The legend of Nalla Thanka (‘Nalla Thankal' in Tamil) is based on a popular Tamil folk tale. The story was staged as musical operas in Tamil by some very popular drama troupes. These musical operas were very popular in Kerala. The mass appeal for these Tamil plays must have prompted the Malayalam version of a stage play.

The Malayalam musical opera ‘Nalla Thanka,' authored by Vaidyaratnam P. S. Varier, for the troupe Kottakkal Paramasiva Vilasam' became very popular.

The success of the Malayalam opera paved the way for the screen version. K. V. Koshy and Kunchacko, founders of Udaya Studios, went for the screen version of the story. The two Tamil film versions based on the legend of ‘Nalla Thangal' released in 1935 were not successful. But the Malayalam version titled ‘Nalla Thanka' created new records at the box office.

This was the second film produced at the Udaya Studios, the first being ‘Vellinakshathram' (1949) that failed at the box office.

The script and dialogues written by Muthukulam Raghavan Pillai followed the stage play with just minor changes. The camera was handled by A. Shanmugham and P. K. Madhavan Nair. The film was directed by P. V. Krishna Iyer.

Nalla Thanka (Miss Kumari), the only sister of Nallannan (Augustine Joseph), the King of Madhurapuri, is wedded to Somanathan (Vaikom Mani), the king of the neighbouring kingdom Ratnapuri. Alankari (Miss Omana), the wicked wife of Nallannan becomes envious of the prosperity of Ratnapuri and the happy married life of Nalla Thanka. Years pass and Nalla Thanka gives birth to seven children.

Drought strikes Ratnapuri and severe famine follows. Nalla Thanka leaves Ratnapuri with her children to seek the help of her kind brother. Nallannan promises all help. Alankari tortures Nalla Thanka. Nalla Thanka hides the misdeeds of Alankari from Nallannan as she does not want their family life to be disturbed.

Out of shame and grief, Nalla Thanka leaves her brother's palace. She decides to kill herself and her children. Nalla Thanka prays to Lord Shiva to forgive her for the decision. She throws her children one by one into a well. Lord Shiva descends and saves her life. All the children are brought back to life.

Nallannan comes to know about the misdeeds and cruelty of Alankari and she is banished from the country. Ratnapuri regains its glory. Nalla Thanka and Somanathan live happily with their children.

The performances of Augustine Joseph, Vaikom Mani, Miss Kumari and Miss Oamana were impressive. In fact, Miss Omana's character became so popular that the name Alankari became a synonym for a wicked woman. The special effect scenes was another highlight.

Music composed by Dakshinamoorthy was another highpoint. The songs were not free from the prevailing trend of imitations. There were 14 songs, written by Abhayadev.

The romantic duet sung by Vaikom Mani and P Leela, ‘Imbamerum ithalaakum mizhikalal...' was a direct copy of the Telugu song ‘Poovu cheri...' sung by Ghantasala and G. Varalakshmi from the Telugu film ‘Drohi' (1948. Music: Pendyala). The chorus sung by Augustine Joseph, Mani and Leela, ‘Manoharamee rajyam...' was a copy of the Mohamed Rafi-Noor Jehan duet ‘Yahan badla wafa ka ...' from the Hindi film ‘Jugnu' (1949. Music: Phiroze Nizami).

The solo sung by Ms. Kuruvila, ‘Pathiye deivam, deivame pathiye...' owes its tune to the Telugu number, ‘Premamayamee jeevithamu...' sung by Nagiah and Sabu from the film ‘Sumangali' (1940. Music: Nagiah).

In spite of being imitations all these songs became hits. The Vaikom Mani- Leela romantic duet became an evergreen number in this genre.

The lullaby by Leela, ‘Amma than premasoubhagya...' is considered as the first popular lullaby in Malayalam cinema. Other hits from the film included ‘Sodara bandham athonne...' (Augustine Joseph), ‘Anandamaanake...' (Augustine Joseph & chorus) etc. A prayer song ‘Shambho njaan...' (P Leela) was composed as a ragamalika.

Will be remembered: As the debut film of music director V. Dakshinamoorthy, actors Augustine Joseph, Vaikom Mani, S. P. Pillai and actress Miss Omana, and cinematographer P. K. Madhavan Nair. And as the first mega hit in Malayalam cinema and for its good music.

Mudiyanaya Puthran (1961)

Cast: Sathyan, Ambika, Kottayam Chellappan, P. J. Antony, Miss Kumari etc.

SUCCESSFUL STAGE ADAPTATION - From left, Ambika, Sathyan and Miss Kumari in a scene from the film

Released on December 22, 1961, ‘Mudiyanaya Puthran' was the first professional drama from a series of successful ones staged by Kerala Peoples Arts Club (KPAC) to be made into a film. Written by Thoppil Bhasi in 1957 and staged by KPAC throughout the country, the play won the Kerala Sahitya Academy award for best literary work in the drama category in 1959.

The highpoint of the play was certainly its excellent music. The ONV Kurup-G. Devarajan team came out with some lovely songs like ‘Ambili mmmava thamara kumbilil...', ‘Cheppu kilukkana changathi...', (both by KPAC Sulochana), ‘Chillimulam kaadukalil...' (K.S. George), ‘Thunjan parambile thathey...' (Devarajan) etc. Popular stage artistes of the time O. Madhavan and KPAC Sulochana, acted in the lead roles.

The popularity of the play prompted film producer T. K. Pareekutty to bring out a screen version of the play. He used the same title and was made by his own company, Chandratara Productions'. The film was director Ramu Kariat's first major venture. The dialogues were written by Thoppil Bhasi, camera was by A. Vincent and editing by G. Venkitaraman. The dances choreographed by C. Gopalakrishnan also impressed. The popular stars of that time, Satyan, Kottayam Chellappan, Ambika, Miss Kumari etc. added star value to the film. This was marked the debut of Adoor Bhasi. The film's success paved the way for screen versions of other popular KPAC plays like ‘Puthiya Aakasham Puthiya Bhoomi' (1962), ‘Aswamedham' (1967) etc. The story was about the relationship between a good and a bad brother and also about the the much discussed employer-employee relations. It involved some very melodramatic scenes, which was ignited by the strongly worded dialogue. The songs written by P. Bhaskaran were set to music by M. S. Baburaj.

Rajan (Sathyan) is a real terror in his village. Emotional setbacks in his life were responsible for his delinquent nature. Rajan was in love with Radha (Ambika) and they wished to get married. But their dream is not realised. Rajan's brother Gopala Pillai (Kottayam Chellappan) marries Radha. Neglected and deceived by his own brother, lover and family members Rajan turns delinquent. He is ordered out of his house by his mother (Adoor Bhavani). Gopala Pillai manipulates the situation and amasses a major portion of the ancestral property. He then breaks away from the family and settles to live along with his wife.

Rajan's mother and sister are reduced to penury. Their only source of help is Vasu (P. J. Antony), a labourer. Gopala Pillai becomes a rich contractor and is involved in all sorts of activities against labourers. This turns Vasu against Gopala Pillai. Meanwhile, Rajan attempts to molest Chellamma (Miss Kumari), a Harijan girl. Chellamma manages to escape the attempt but the incident stuns her.

Gopala Pillai still nurses an enmity with his brother. He suspects that his wife Radha was still in love with Rajan. Gopala Pillai decides to do away with Rajan. He hires a few goons and has Rajan beaten up severely. The timely help given to Rajan by Chellamma, who offers to give him shelter in her hut, saves him. Gradually Rajan regains his health. The love and affection showered on him by Chellamma and Vasu Vasu brings about a change in his character. Rajan even falls in love with Chellamma.

Vasu organises a labour strike against the unjust activities of Gopala Pillai and his men. Karadi Kuttappan (P. A. Thomas), one of Gopala Pillai's thugs is murdered in a conflict between the labourers and Gopala Pillai's men. Vasu is arrested and the police launch a search for Rajan who goes into hiding. Now Rajan thinks that the society and his family need Vasu more than him. Overcome by the affection that the people seem to have for Vasu, Rajan turns himself to the police. He entrusts Chellamma, whom he loves more than his life, to his mother.

The film is one of the best social movies in the language, which told boldly the real life struggles of workers, projected social evils like untouchability etc. Some of the emotionally charged scenes, like the climax where Rajan entrusts his beloved to his mother, and taking a cup of coffee from Radha, his sister-in-law, with whom he had misbehaved earlier were impressive.

The film was shot at Vijaya and Vauhini Studios. Vincent's remarkable camerawork sets the tone of the film right from the opening scene, in which Rajan lights a cigarette in the darkness and tries to molest Chellamma. His work is considered one of the best in black and white Malayalam cinema. Sathyan, P. J. Antony, Miss Kumari and Adoor Bhavani excelled in their roles. In fact, Sathyan's powerful performance as the delinquent younger brother in the family was later extended into the definitive element in Kariat's ‘Chemmeen'. A dance sequence by Ambika was another highlight of the film.

The film was noted at the national level and won the President's Silver Medal, for regional films, in 1961.

Baburaj's music was outstanding. Out of the 11 songs, ten of them were penned by P. Bhaskaran. The dance numbers ‘Potti chirikkaruthe chilanke...' ( P Leela) and ‘Chanchala chanchala sundara..' (Leela- Kaviyoor Revamma) were instant hits. ‘Thengidalle thengildalle...' (Santha P. Nair), ‘Ethra manoharam aanaviduthe...' (Santha P. Nair) were the other hits. The song ‘Ethra manoharam...' written by G. Sankara Kurup was taken from his translation of Rabindranath Tagore's ‘Gitanjali.'

Will be remembered: As the first play by Thoppil Bhasi to be made into a film. The debut film of Adoor Bhasi and art director S. Konnanat. For Sathyan's brilliant performance and as the film to win the President's Silver Medal.