Thacholi Othenan

T. K. Pareekutty who produced successful social movies like “Neelakkuyil” (1954), ‘Rarichan Enna Pouran' (1956), ‘Moodupadam' (1963) etc. which focused on some social issues came up with an adventurous film, based on ‘vadakkan paattu', ballads of North Kerala in 1964. Produced under the banner of Chandratara Productions, the film was directed by S. S. Rajan.

The tremendous success of the first ‘vadakkan paattu' movie ‘Unniyarcha' (1961) must have prompted the producer to come up with a film with a similar theme.

Shot at Vauhini Studios, Madras, the sword fight and wrestling scenes in the film were shot at Kerala Bhargava Kalari Centre under the direct supervision of expert teachers. The film was released on January 31, 1964. As a new advertisement technique, wall calendars with stills from the film were distributed widely weeks before the release of the film. Popular artists like Sathyan, P. J. Antony, Kottayam Chellappan, Ambika, Sukumari etc. were cast in important roles. Apart from acting, Adoor Bhasi worked as assistant director for the film. The music composed by M. S. Baburaj was excellent. The film was a huge hit and also went on to win the National Award for the best Malayalam film in the regional films category in 1964.

Thacholi Othenan (Sathyan) was born into the royal family of Manikoth Kovilakom in Malabar. Othenan was trained in ‘kalarippayattu', the ancient martial art form of Kerala, from a very young age. He grew up to become an extraordinarily brave and skilled warrior. A dispute on the performance of a ritual led to a fight between the local ‘kalarippayattu' teacher, Kathiroor Gurukkal (P. J. Antony) and Othenan in which the Gurukkal was defeated. 

Beautiful Kunki (Ambika) falls in love with Othenan, but the brave warrior is in love with Kunhikanni (Devaki), princess of Kadathanadu. In fact, Kunki was falsely portrayed as an ugly woman by Ambu (Adoor Bhasi), servant of Gurukkal, which becomes one reason for Othenan to reject her marriage proposal.

Meanwhile, Othenan happens to meet Kunki on his way to meet Kunhikanni. Othenan falls in love with her at first sight and leads to their marriage. Othenan is supported in all this by his companion, Chaappan (Kunhandy). 

Othenan's sister Unniyarcha (Sukumari) falls in love with Payyanadan Chindan (Kottayam Chellappan). Disputes over rights on family properties leads to a fight between Othenan and Chindan, which Othenan wins. 

Othenan conducts the festival at Lokanar Temple to celebrate the occasion and offers to donate an elephant to the temple. In the meantime Kunhikanni is kidnapped by Gurukkal's men. Othenan frees Kunhikanni. On his expedition in search of an elephant, Othenan is attacked by Gurukkal's men.

Timely intervention of his wife Kunki and son Kunhambadi (Master Prasad) saves Othenan's life. Gurukkal himself comes to fight and is killed by Othenan. But Gurukkal's men fire at Othenan, killing him.

All the songs, written by P.Bhaskaran and composed by Baburaj, turned timeless hits. ‘Anjanakkannezhuthi...' (S. Janaki), ‘Appam venam ada venam...,' (P. Leela-Santha P. Nair), ‘Kanni nilavathu ...' (Leela), ‘Kottum njaan kettilla...' (Leela & chorus), ‘Nallola painkili...' (Leela & chorus), ‘Naavulla veenayanu...' (K. P. Udayabhanu), ‘Ezhimala kaadukalil...' (Leela & chorus) all went on to become treasured melodies. 

Will be remembered: As a national award winning film, for its excellent music and one of the best films in the popular ‘vadakkan paattu' genre.

Poochakkanni (1966)

PSYCHOLOGICAL DRAMA - Publicity material of the film Poochakkanni

Though psychological thrillers were common in various Indian language cinema, family dramas with a psychological theme were rare. After the success of his social movies like ‘School Master' (1964) and ‘Chettathi' (1965) , renowned Kannada director Puttanna Kanagal (S. R. Puttanna in Malayalam) came up with the first psychological-social film in Malayalam, ‘Poochakkanni' (1966). The film was a huge hit.

Films with this combination of themes were made in Tamil, like ‘Amara Deepam' (1956), ‘Asai Mukam' (1960), ‘Naan Vanangum Deivam' (1953), ‘Kai Kodutha Deivam' (1964) etc. The success of these films might have prompted producer V.Arunachalam to put his money into ‘Poochakkanni.' This film had a novel theme, a morbid fear of cats or ailurophobia.

Thikkurissi Sukumaran Nair, Prem Nazir, Vijaya Nirmala, Ambika, Meena donned important roles. Kalavathi, who was seen in minor roles till then was cast into a key role and came up with an impressive performance.

Sreedharan Nair (Thikkurissi), a bank officer, remarries after the death of his first wife Gowri (Ambika). He did this as he wanted someone to look after his eight-year-old daughter Geetha.

Their neighbour, Meena considered Geetha as her own daughter. Meena's son, Murali was almost the same age of Geetha. Nair's second wife Vanaja (Kalavathi) disliked Geetha. The girl was ill treated by her step-mother. Geetha's only consolation was Meena. But Meena gets a job transfer and leaves. Geetha feels lost and lonely.

One way Vanaja used to frighten Geetha was by using her green, cat-like eyes. This has a disastrous effect on Geetha.

Time and years roll on. Now Geetha (Vijaya Nirmala) has grown up but her behaviour and actions remain that of an eight-year-old. Nair tries everything including religious rituals to help his daughter recover from this shocking mental state.

Meena returns with her grown-up son Murali (Prem Nazir) who is a doctor now. Under Murali's treatment Geetha begins to show improvement. She finally recovers from her psychic ailment. Vanaja repents for her cruel actions. She even prises out her ‘cat eyes' that had caused so much fear and anguish for Geetha. Murali weds Geetha bringing the film to a happy ending

Vijaya Nirmala excelled in her role of the psychic patient. Kalavathi as ‘Poochakkanni' (cat-eyed woman) also impressed.

Seven songs, written by Vayalar Rama Varma and set to tune by M. S. Baburaj were instant hits. ‘Geethey hrudayasakhi Geethey…' ( P. B. Sreenivas), ‘Kakka kondu kadalmannu kondu…' ( Sreenivas- B. Vasantha) and ‘Mural Murali…' (P. Susheela) were the most popular. Other hits included, “Maramaaya maramokke…' ( S. Janaki and chorus), ‘Kurinji poovey…' (L. R.Easwari), and ‘Pandoru rajyathoru…' (Janaki).

Will be remembered: As the first psychological film in Malayalam and for its excellent music.

Kumarasambhavam (1969)

Banner : Neela Productions

Producer/Director : P Subramaniam

Dialogues : Nagavally

Lyrics : Vayalar, ONV

Music - Devarajan 

Starcast: Gemini Ganeshan, Thikkurissi, Kottarakkara, T K Balachandran, Kundara Bhasi, Padmini. Aranmula Ponnamma, Pankajavalli, Sri Vidya, Rajasree, T R Omana etc

Mythological films on Lord Subramanya were made in South Indian languages, particularly in Tamil, from the beginning of sound films. Most of such films told the story of his marriage with Valli, a tribal girl. Probably ‘Sree Skanda Leela' (Tamil-1938) was the first film that told on the screen the legend behind his birth and his mission. ‘Kandhan Karunai' (1967), one of the best mythological Tamil films directed by A. P. Nagarajan, told the story of the birth of Subramanya. A huge hit the film introduced actress Sridevi, who was cast in the childhood role of Lord Subramanya. 

Probably, the success of ‘Kandhan Karunai' must have prompted P. Subramaniam to produce the Malayalam film ‘Kumarasambhavam' (1969) that adapted sequences from the Tamil film. The film went on to become a huge box office hit. Shot in Eastman colour at Merry Land Studios, the film had cinematography by U. Rajagopal and editing by Gopalakrishnan. Dialogues were by Nagavalli R. S. Kurup and dances choreographed by eminent dance masters like Guru Gopinath, Thankappan and Parthasarathi. The film was also a musical hit that had some excellent compositions by G. Devarajan. When the Kerala State Awards were instituted in 1969 this film had the honour of being judged the best feature film.

This was Sridevi's debut Malayalam film. Popular artistes like Gemini Ganeshan, Thikkurissi Sukumaran Nair, Kottarakkara Sreedharan Nair, T. K. Balachandran, Padmini, Aranmula Ponnamma, Pankajavalli also starred in the film. 

The film is said to be based on Kalidasa's epic poem ‘Kumarasambhavam.” But the story deviates from this poem by bringing in some stories glorifying the deity. The film was released on December 25, 1969.

Himavan and his wife (Thikkurissi and Aranmula Ponnamma) are worried about the marriage of their daughter Parvathi (Padmini) who is firm on her decision to marry none other than Lord Siva (Gemini Ganeshan). Lord Siva had vowed never to marry and was meditating following the death of his consort Sati (also played by Padmini). This was because of Siva's enmity with Sati's father Daksha (Kottarakkara). Sati is reborn as Parvathi with a mission to give birth to Siva's son who would kill the powerful demon Tharakasura (Kundara Bhasi) who was now in control of heaven and the gods. Narada (T. K. Balachandran) advises Parvathi to worship Lord Siva and win his love. By her penance and determined efforts Parvathi manages to win the love of Siva. Their marriage takes place. Parvathi gives birth to Subramanya (Sridevi) who grows up and duly kills Tharakasura. 

Deviating from the epic poem, the film included some sequences related to Lord Subramanya, like his meeting with Avvayyar (T. R. Omana), quarrel with Ganapathi, etc.

Padmini excelled in the roles of Sati and Parvathi. Also impressive were Sridevi, Gemini Ganeshan and Pankajavalliessayed the role of Daksha's wife impressively. 

The songs written by Vayalar Rama Varma and ONV Kurup were set to tune by Devarajan. Most of them were based on classical ragas, like ‘Priyasakhi Gangey…' (Madhuri) in Suddha Dhanyasi, ‘Satya Siva soundaryangal…' (K. J. Yesudas) in Kalyani, and the dance number ‘Maya natana…' (P. Leela and Radha-Jayalakshmi) set in Khamas. The other hits include ‘Indukalamouli….' (Madhuri), ‘Nalla Haimavatha…' (P. Susheela and chorus), and a ragamalika, ‘Saravana poykayil…' (Kamukara Purushotaman). 

Will be remembered:As the first film to win Kerala State award in the feature film category, as the debut Malayalam film of Sridevi and for the excellent music.

Bharya (1962)

Sathyan, Kottayam Chellappan, S. P. Pillai, Ragini, Rajasree, Adoor Pankajam etc

Like the ‘love triangle,' another favourite subject for films is that of the ‘other woman' The Telugu film ‘Swargaseema' (1945) was probably the first popular Indian film that focussed on this rather controversial subject. Tamil films like ‘Rakthakkanneer,' ‘Illara Jyothi,' (1954) ‘Town Bus' (1955) etc. are examples of successful films with this theme. The ageless subject even finds its place in ancient Tamil epics like ‘Chilappathikaram' based on which Tamil films ‘Kannagi' (1942), ‘Poompuhar' (1964) etc were made.

In Malayalam, ‘Bharya,' (1962) produced and directed by Kunchacko under the banner of Udaya Studios is considered the best and most popular film that discusses this subject. The film was adapted from the novel of the same title by E. J. Philip, popularly known as Kaanam E J. The novel is said to be based on a real incident, the Thiruvalla Ammalu murder case. Some of the early Malayalam films like ‘Ponkathir' (1954), ‘Ashadeepam' (1954), and ‘Mariyakutty' (1958) also used this same theme. Released as a Christmas gift, on December 20, 1962, the film broke many a box office record.

The dialogues written by Ponkunnam Varkey became a favourite and for the first time in Malayalam cinema dialogues of important scenes were released in a set of four 78 rpm records.

Popular artistes like Sathyan, Kottayam Chellappan, S. P. Pillai, Ragini, Adoor Pankajam starred in the film. Rajasree made her Malayalam debut in this film. Her name in the title cards was listed as Gracy, the name of the character in the film. Her role as the ‘other woman' became so popular that in some of her later films also her name in the title cards was shown as Gracy.

Benny (Sathyan) runs a parallel college. He leads a peaceful and happy family life with his wife Leela (Ragini), and children Molly (Baby Seetha) and Rajan (Master Jijo). Benny falls in love with Gracy (Rajasree), one of his students. Gracy's parents (S. P. Pillai and Adoor Pankajam) take undue advantage of Benny's blind love for Gracy. They gradually manage to eat into his wealth. Leela's attempts to bring her husband back fail. In fact, Benny does not even visit his ailing father Dr. Joshua (Kottayam Chellappan).

Benny plans to elope with Gracy. When Leela tries to prevent him she is beaten up. Leela falls unconscious. Thinking that Leela is dead, Dr Joshua orders his son to shoot her. He wanted to create an impression that Leela had committed suicide. Benny pulls the trigger. Leela, who was unconscious, dies of bullet injuries. Benny is arrested by the police.

A stand out performance by Ragini and Sathyan in the negative role were the highpoints of the film.

Nine songs by the Vayalar-Devarajan team turned timeless melodies. ‘Periyare, Periyare…' (A. M. Raja-P. Susheela) , ‘Panjarapaalu Mithayi…' (K. J. Yesudas-Leela), ‘Manas samadham thannattey…' (Raja-Jikki), ‘Omanakkayyil …' (Susheela), ‘Mulkireedamithenthinu…' (Susheela), ‘Kaanaan nalla kinavukal…' (S. Janaki), and a song and dance sequence pictured in colour, ‘Adam, Adam…' (Yesudas-Susheela) are still hummed.

Will be remembered: For its excellent music and the good story. As the film debut of Kaanam E J and the first Malayalam film of Rajasree.

Krishna Kuchela (1961)

Popular film companies and producers have always been engaged in a fierce competition. The result has been some excellent social, historical, action movies. In some cases films with the same plot or concept have been made and released almost simultaneously. There are also instances where movies flopped as a result of this competition.

Take the case of the Tamil films ‘Gnana Soundari' (1948). Two films, with the same title and storyline, one produced by Gemini Films, with M. K. Radha and V. S. Suseela in the lead roles and the other by Citadel Films that had T. R. Mahalingam and M. V. Rajamma in the lead roles. These films were released within a month of each other. While the Gemini film flopped the Citadel version became a runaway hit, a classic.

The Malayalam film ‘Krishna Kuchela,' produced by Udaya Studios,' and ‘Bhakta Kuchela,' produced by Neela Productions', had the same Bhagavatha story of Krishna and his childhood friend Kuchela. ‘Bhakta Kuchela' was released on November 9, 1961, and ‘Krishna Kuchela' on November 18, 1961. The Neela film, directed by P. Subramaniam, was a huge hit, whereas ‘Krishna Kuchela' failed miserably.

The Telugu film ‘Krishna Kuchela,' released on June 6, 1961, was the inspiration behind the production of the two Malayalam versions. This Telugu film, directed by C. Narayanamoorthy, was a crowd puller and is considered as one of the best mythological films in the language. Kuchela, played by C. S. R. Anjaneyalu, an actor noted for his mythological roles, came up with a brilliant performance. In fact, his role in the Neela production is widely believed to be the reason behind the film's success. The role of Krishna was played by another popular Telugu star, Kantha Rao. ‘Bhakta Kuchela' was an unusual collaboration between a Malayalam producer and an array of Telugu stars.

Directed by Kunchacko, ‘Krishna Kuchela' was shot at Udaya Studios. The dances choreographed by Hiralal and cinematography by T. N. Krishnankutty were commendable. The high point of the film was its music, which was composed by K. Raghavan.

Popular artists like Sathyan, Prem Nazir, T. S. Muthiah, Kottayam Chellappan, Ragini, B. S. Saroja, and KPAC Sulochana were cast in important roles. Apart from the popular story a few sequences from the Bhagavatha, like the birth of Krishna, Radha's love and devotion towards Krishna, enmity with Sisupala, slaying of Kamsa etc. were included as a sub-plot.

The competition between these two films was apparent in music and advertisement techniques. The distinctive numbers of the 78 rpm gramophone records of the songs indicate that they were released the same day or same week. Along with the publicity notices of ‘Bhakta Kuchela', especially in the theatres, ‘aval' or beaten rice was distributed in small packets wrapped in the publicity notice itself. Not to be left behind the publicity material of ‘Krishna Kuchela' were sent to houses along with ‘aval kizhi' or beaten rice packed in a small piece of cloth.

The songs in both the films were good. In this case, however, ‘Krishna Kuchela' scored. There were 22 songs in this film. Written by P. Bhaskaran and tuned by K. Raghavan some of them like ‘Omanakuttan Govindan…' (Shanta P. Nair), ‘Marayalle mayalle Radhey…' (K. Raghavan), ‘Umma nalkuthengineyamma…' (P. Susheela) and ‘Varnippathengine nin…' (M. L. Vasanthakumari-P.Leela) turned hugely popular.

Will be remembered:‘Krishna Kuchela' did not do well at the box office but it will be remembered as one of the two films with the same story, produced at the same time, which was the first instance in Malayalam cinema. It will also be remembered for its good music.

Sheelavathi (1967)

Stories from Hindu religious texts were a favourite subject for Indian cinema right from the beginning. Most of the silent and sound films produced with such themes were successful at the box office. Silent films like ‘Mahasati Anasuya' (1921), ‘Sukanya Savithri' (1922) and sound films of the early period ‘Sati Ahalya' (Tamil-1937), ‘Sati Sulochana' (Kannada-1934), ‘Savithri' (Hindi-1937) are a few examples.

Sheelavathi is a name that appears in several Hindu texts. A chaste woman and a dutiful wife, she is not one of the five Sati's (Savithri, Sita, Draupadi, Anasuya and Mandodari) mentioned in Hindu Puranas and Upanishads.

Sheelavathi is so popular that a phrase has been coined that is often used to refer to a chaste woman or dutiful wife.

‘Sheelavathi Naalu Vrutham' , a poetic work, believed to be authored by Kunjan Nambiar, that tells the story of the ‘ideal' woman, was first published in 1874. The same story was written and performed by Nambiar as ‘Ottanthullal', a folk art popularised by him.

The Malayalam film ‘Sheelavathi' (1967) was probably the first Indian movie that told this story on screen. Produced under the banner of Aries Films and directed by P. B. Unni, the film was not successful. The high point of the film was the music by G. Devarajan.

Sheelavathi (K. R. Vijaya) and Ugrathapas (Sathyan) students and inmates at the hermitage of sage Athri (P. J. Antony) fall in love. They get married after they complete their Vedic lessons. Ugrathapas establishes his own Vedic school. The couple leads a happy family life. Lord Shiva and Parvathi subject Sheelavathi to a test of character.

Ugrathapas contracts leprosy. He tortures Sheelavathi for no fault of hers. The chaste and dutiful wife, Sheelavathi, runs the household by begging, makes no complaint and nurses her husband sincerely. One day Ugrathapas orders his wife to take him to the mansion of the courtesan (Vijayalalitha).

While carrying her husband in a basket on her head Ugrathapas's leg strikes Sage Mandavya's (Kottayam Chellappan) head. The sage curses Ugrathapas saying that he will die at the next sunrise.

To save her husband's life, Sheelavathi starts a penance. She pleads to the Sun not to rise the next morning and it does not. This is the power that the dutiful and chaste acquires in the story. She is now able to control the natural forces. The sun does not rise; the universe comes to a halt. Anasuya (T. R. Omana), the consort of Sage Athri appears before Sheelavathi and requests her to withdraw her penance. And she does so. Ugrathapas dies only to be brought back to life by the blessings of the Trinity. Sheelavathi's character is proved beyond doubt.

The nine songs written by P. Bhaskaran were set to tune by Devarajan.

The romantic duet ‘Valkalamooriya vasantha yamini…' (K. J. Yesudas- P. Susheela), and ‘Surabhi maasam vannallo…' (S. Janaki and chorus) became instant hits. The other hits include ‘Chirichu kondodi nadakkum…', and ‘Muttathu prathyusha deepam…' (Janaki). A devotional, ‘Om Saraswathim namami…' was rendered by Devarajan, along with P. B. Sreenivas and Yesudas.

Will be remembered:As the first Indian film to narrate the story of Sheelavathi. And for its music.

Kunjali Marakkar (1967)

Banner : Chandratara Productions

Producer : T K Pareekutty

Director: SS Rajan

Story/Dialogues: K Padmanabhan Nair

Lyrics: P Bhaskaran

Music: Chidambaranath

Star cast: Kottarakkara, Prem Nazir, Premji , S P Pillai, P J Antuny, Satyapal, Jyothilakshmi, P K Saraswwathi, Sukumari etc

‘Kunjali Marakkar' tells the story of the legendary 16th century naval captain. The life and times of martyrs and freedom fighters caught the attention of Indian cinema from its early period. But filming of such stories was not possible during British rule. Before Independence, the Censor Board had banned a Tamil social film, ‘Thyagabhoomi' (1939) directed by K. Subrahmaniam on charges that the film contained dialogues and sequences that went against the British. The Malayalam film ‘Veluthambi Dalava' (1962) that falls in this genre was not as successful as ‘Kunjali Marakkar.'

Many historical films, in various languages, were made after Independence. And most of them focused on the lives of martyrs and freedom fighters. They became the subject of Hindi like ‘Padmini' (1948), and ‘Jhansi Ki Rani' (1953); Tamil films like ‘Veera Pandya Kattabomman' (1959) and ‘Kappalottiya Thamizhan' (1961).

‘Kunjali Marakkar,' produced by T. K. Pareekutty and directed by S. S. Rajan was shot at Satya and Syamala Studios, Chennai. The film was edited by G. Venkitaraman, story and dialogues were by K. Padmanabhan Nair and fights directed by R. N. Nambiar. Kottarakkara Sreedharan Nair, Prem Nazir, P. J. Antony, Kottayam Chellappan, Sukumari etc. played important roles in the film. Playback singer P. Jayachandran made his film debut in this film, though his songs in ‘Kalithozhan' (1966) were released first. The music, composed by B. A. Chidambaranath, was a high point of the film.

The Portuguese dominated trade in the Malabar after Vasco da Gama set foot in Kozhikode. The Samoodiri of Kozhikode (Premji) opposed the Portuguese. But the foreigners were supported by the local merchants and the Samoodiri's wicked nephew (P. J. Antony). Mohammed (Kottarakkara), a brave warrior and merchant supported the Samoodiri in his fight against the Portuguese. The Samoodiri honoured Mohammed by making him his naval chief and renaming him ‘Kunjali Marakkar'.

The Chief Minister Mangattachan's niece is in love with Poovalappil Nanu (Prem Nazir), a warrior-merchant. Rumours are spread that Nanu is killed by the Portuguese. Meanwhile, the Portuguese, with the support of the local traders and king's nephew try all their wicked tricks to capture Kozhikode and even to murder the Samoodiri. But Marakkar's timely intervention saves the country and the king. Nanu goes to Kochi and gets into the Portuguese troop and even manages to become one of their captains.

To save his people from Portuguese attacks, Samoodiri accedes to their request to build a fort in Kozhikode. Another fort is built at Kottakkal. When the land is attacked by forces from the sea, Marakkar stands up to them and staves off the attempted invasion. Nanu, in disguise as Antonio, captain of the Portuguese, takes charge of Kozhikode Fort. He lends secret support to Marakkar. But with the support of some local merchants and landlords, the Portuguese succeed in capturing Marakkar and killing him.

The film revolved around the brilliant acting of Kottarakkara in what must be one of his best roles. Premji also stood out in his role as the Samoodiri. P. K. Saraswathi, heroine of early Malayalam and Tamil cinema, made a comeback in this film. She played the role of the queen. Jyothilakshmi also impressed in the romantic role.

Music was one of the main attractions. There were six songs written by P. Bhaskaran and set to tune by Chidambaranath. A solo by K. J. Yesudas ‘Udikkunna sooryane…,' the romantic numbers ‘Mullappoo malayumai…' (P. Jayachandran), and ‘Muttathu pookana…' (P. Leela) were the most popular of them. Other hits include the devotional by S. Janaki, ‘Neeyallathaarundu abhayam…', and ‘Aattinakkare…' (Yesudas, Vasantha, Kamala).

Will be remembered:As the debut film of playback singer P. Jayachandran, for its good music and a stand out performance by Kottarakkara.