Sindooracheppu (1971)

The HinduThe film highlights the evil of violence against elephants.

TOPICS

cinema

Malayalam cinema

Madhu, Sankaradi, JAR Anand, Bahadur, Jayabharathi, Prema, T.P. Radhamani, Philomina , Baby Shobha , Master Vijayakumar

Sindooracheppu, released on November 26, 1971, was the first Malayalam film that featured an elephant and a mahout as its main characters. And not surprisingly, the film was a huge hit.

The Tamil film Yaanaippaakan (1960) had a mahout as its central character. This film, as well as its Hindi dubbed version Mahout (1961), also succeeded at the box office. But these films did not portray the true life of a mahout. Sindooracheppu was a realistic presentation of a mahout’s life and his emotional bond with the animal.

Directed by actor Madhu, the film was produced by noted lyricist-poet Yusuf Ali Kecheri, who also wrote the story, script, and dialogues. Produced under the banner of Anjana, the film was shot at AVM, Prakash and Venus Studios.

The rich Kerala landscape and folklore formed its backdrop. The outdoor scenes were canned at Deshamangalam Mana (a traditional mansion of Namboodiri Brahmins) and Cheruthuruthy village, located on the banks of the Bharathapuzha River.

Cinematography, which was by Martin Aloysius, Vasanth B.N. and Benjamin, supervised and controlled by noted cameraman U. Rajagopal, was outstanding. Editing by G.Venkitaraman, art direction by Konnanat, and music by G. Devarajan were the other highpoints of the film.

Madhu, Sankaradi, Muthiah, Premji, Jayabharathi, Prema etc. essayed important roles.

But the star of this somewhat violent film was the elephant Gopi. The elephant behaves and even thinks like a human, like his mahout, rebelling against ill-treatment and injustice. Some of the ‘star elephants’ of the time, such as Vishwakumar of Periyanampatta Devaswom, Lucky, owned by Bharat Circus and Ramachandran of Guruvayoor Devaswom, have been featured in this film.

The story revolves around an elephant and its mahout. Sankaran Nair (Sankaradi) is a mahout who lives in a remote village with his daughter Ammalu ( Jayabharathi) and wife (Prema). Sankaran is appointed as mahout of Gopi by its owner Namboodiri (Premji), a rich landlord. The village soothsayer, Kaniyan (JAR Anand) foretells that Gopi will kill three people. This prophecy instils fear in Ammalu’s mind. As a child she even attempts to kill Gopi by putting ants into his trunk.

Once, Sankaran in a drunken state annoys Gopi. He changes Gopi’s position in a temple procession allowing another mahout to place the thidambu (idol of the deity) on the top of his elephant. Humiliated, Gopi goes wild and kills two mahouts. The police team that arrives on the scene decides to shoot down Gopi. Kesavan, a wandering mahout, reaches the place and saves Gopi’s life by calming him down. Kesavan is appointed as Gopi’s mahout, and Sankaran as his assistant.

Ammalu falls in love with Kesavan and they decide to marry. Sankaran is dismissed from service by the landlord when he finds out he had been ill-treating Gopi. Sankaran turns against Kesavan. He decides to marry Ammalu to another person. Ammalu believes that Gopi was the cause for all her sorrow and bad luck. She attempts to kill Gopi once again. This time Gopi reacts and tramples Ammalu to death. Kesavan leaves the village throwing the mahout’s hook into the river, symbolic of giving up his profession in protest against cruelty to elephants.

Some of the scenes and the minor characters closely resembled those in Thomas Hardy’s novels. The village barber (Thodupuzha Radhakrishnan), tea shop owner (Bahadur) and the mad woman (Philomina) are examples.

The songs, written by Yusuf Ali Kecheri and composed by Devarajan, were well received. Some of them like Omalaale kandoo njaan (K.J. Yesudas), Ponnil kulicha raathri (Yesudas), and Thambraan thoduthathu (P.Madhuri) turned huge hits. The other popular songs included Thanneeril viriyum thamarappoo (Yesudas) and Mandachaare mottathalaya (Madhuri-Susheela Devi).

Will be remembered: As the first Malayalam film with an elephant and its mahout as main characters and for its excellent music.

Devatha (1965)

The HinduSathyan and Sushama from the film.

Sathyan, Prem Nazir, Muthiah, S.P. Pillai, Adoor Bhasi, Ambika, Sushama etc.

Most of the ‘social films’ of 1950s and 1960s in South Indian languages were stranger than fiction. The stories developed for cinema were highly melodramatic with unusual twists and turns.

The Malayalam film Devatha released on January 14, 1965, was a compilation of sequences from some such South Indian social films.

Produced by Bharathi Menon under the banner of Thejo Films, the film was directed jointly by K. Padmanabhan Nair and W. R. Subba Rao.

The theme of Devatha closely resembled the storyline of Malayattoor Ramakrishnan’s novel Yakshi. Both the stories focussed on the thought of Beauty of the Soul.

Devatha did not do well at the box office. Sivaji Ganesan’s Deiva Makan, released much later and discussed the Beauty of the Soul theme, was a huge hit.

Apart from popular artistes Sathyan, Prem Nazir, Muthiah, Ambika, Adoor Bhasi and S. P. Pillai, Sushama, (her screen name was Maya), who made her Malayalam film debut in Udaya Studio’sKadalamma (1963), acted in this film. In fact, she quit cinema after this film.

Mohan (Sathyan) is a scientist involved in research. His junior Rema (Sushama) is in love with him and she always preaches about the beauty of the soul. Mohan meets with an accident in the laboratory and his face suffers burns. Rema, who always said that she loved Mohan for his ‘beautiful soul’, rejects him when his face is burnt and deformed. Rema turns her attention to another young research student, Venu (Prem Nazir). Deformation of his face and the cruelty of his lover forces Mohan into a secluded life. His mother Kalyani Amma’s (Bharathi Menon) efforts to console Mohan and bring back him to normal life fail.

Ammini (Ambika) is an orphan who loses her eyesight following a fire in the orphanage. Along with Vasu (Muthiah), an inmate in the orphanage, she her earns livelihood by singing and begging on the streets. Mohan gets fascinated by her singing. Kalyani Amma brings her home hoping that she would be able to bring some happiness in Mohan’s life. Mohan is mesmerised by Ammini’s sweet voice and soon they get married. It was Mohan’s confidence that Ammini, being blind will not see his burnt face that resulted in their marriage. They are blessed with a son.

Venu comes back after his higher studies abroad in ophthalmology. He advises surgery for Ammini. Mohan is afraid that Ammini would abandon him if she happened to see his face and is reluctant to conduct the surgery.

Venu rejects Rema’s proposal of marriage. He succeeds in convincing Mohan about the need for the surgery. Ammini undergoes surgery and regains her eyesight. She faints on seeing Mohan’s face. In his fury, Mohan picks up a revolver and attempts to shoot himself but finds that the gun was not loaded. Ammini recovers and expresses her true love for Mohan. For her it is the beauty of the soul that matters.

Sathyan, Ambika and Adoor Bhasi as Compounder Kittu excelled.

The film had eight songs written by P. Bhaskaran and set to music by P. S. Divakar. Verses from Jayadeva‘s Geeta Govindam and ‘Athmananda’ Krishna Menon’s Radha Madhavam were also included in the film. Kannukalennaal kalavukal parayum…. (K.J. Yesudas-P. Leela), Ormavekkenam ee premarangam…. (M. Balamuralikrishna-S. Janaki), Janmabhoomi Bharatham karmabhoomi Bharatham…(Yesudas- Latha and chorus) became hits. The other songs include the Ashtapadi (Geeta Govindam) Dheera sameerey Yamuna theerey…(Balamuralikrishna- Leela), Kannillenkilum karalin kanninaal…. (Leela), and Padachavan namukkoru varam…(Yesudas- K.P. Udayabhanu-Raghu).

Will be remembered: As an early Malayalam social film with a different theme – Beauty of the Soul. For some of the songs, especially the patriotic number Janmabhoomi Bharatham….

Olavum Theeravum (1970)

Madhu, Nellikkodu Bhaskaran, Jose Prakash, Bahadur, Usha Nandini, Philomina etc.

KOCHI: Released on February 27, 1970, Olavum Theeravum is considered as the first film to have introduced an art-house new Indian cinema aesthetics to Kerala. Independently produced by P.A. Backer, who later turned director, under the banner of Charuchithra, the film was directed by P.N. Menon. Breaking with Malayalam cinema’s studio and stage bound conventions; excellent cinematography by Mankada Ravi Varma was the high point of this film. He was awarded the Kerala State film award for best cinematography. The film was completely shot at outdoor locations. Art direction by S. Konnanat and editing by Ravi also stood out.

The film was based on a short story by M.T. Vasudevan Nair of the same title, published in an anthology of short stories in 1957. The classic script and unusual dialogue style evoking the local accents of Nilambur, in Malappuram, was impressively written by MT. Olavum Theeravumwas adjudged the best feature film and MT the best script writer at the Kerala State film awards that year. The tragic realism in this art-house movie, which was also a commercial hit, later became a definitive formula for a whole generation of Malayalam directors, including P.A. Backer.

Madhu, Nellikkodu Bhaskaran, Jose Prakash, Usha Nandini and Philomina essayed prominent roles. Noted stage actor Pariyanampatta Kunjunni Namboodirippad appeared in a guest role. Music composed by M.S. Baburaj followed the folk tradition of Maappilapattu.

Timber traders Bapputty (Madhu) and Abdu (Nellikkodu Bhaskaran) are friends. Ashamed of his mother Beevathu’s (Philomina) immoral life after his father’s death, Abdu runs away from his native village Vazhakkadavu and is engaged in timber trading. Abdu never returns to his home after that. On the way to the trading centre after loading timber from the forest Abdu falls ill and dies on the way. Bapputty reaches Beevathu’s hut with Abdu’s dead body. Bapputty takes pity on the family and decides to support them.

Here, Bapputty falls in love with Abdu’s only sister Nabeesa (Usha Nandini) who also hates her mother’s way of life but is helpless. Bapputty takes a decision to make enough money, marry Nabeesa and live happily. He leaves the village to distant timber depots to realise this dream.

Meanwhile, a rich trader Kunjali (Jose Prakash) who was away from his native village for a long time now returns. His sees Nabeesa and makes advances. Beevathu, who only thinks of making money, encourages Nabeesa to befriend Kunjali, but she avoids going anywhere near him. She keeps waiting for Bapputty to return and take her away. One day, with Beevathu’s support Kunjali molests Nabeesa. On that fateful day Bapputty reaches the village and is heartbroken at the happenings. But the kind-hearted Bapputty who loved Nabeesa sincerely, affirms his decision to marry her. Nabeesa refuses and pleads with him to leave her. The film ends with Nabeesa’s suicide and Bapputty staring at her swollen corpse washed ashore as he leaves the village.

Madhu and Philomina excelled in their roles. In fact, Beevathu is considered as one of the best performances of Philomina, which fetched her a State award for the second best actress of the year.

The songs written by P. Bhaskaran and set to tune by Baburaj were haunting. Kavililulla marivillinu…(P.Leela), Idaykkonnu chirichum…(S.Janaki), Manimaran thannathu…(K.J. Yesudas-Machattu Vasanthi) and a traditional Mappila song Oyye enikkundu…(C.A. Aboobacker) were very popular.

Will be remembered: As a film that won State awards for best feature film, best cinematography (Mankada Ravi Varma), script (M.T. Vasudevan Nair) and second best actress (Philomina). And also for its haunting music.

Manassakshi (1954)

Prem Nazir, Kottarakkara Sreedharan Nair, Jose Prakash, P.A. Thomas, S.P. Pillai, Rajasulochana, T. R. Omana, etc

Most of the social movies of the 1950s had unusual twists and turns. Malayalam film producers and directors also followed this trend that was popular in the Tamil and Telugu films of the day. Manasakshi , released on August 20, 1954, was a compilation of sequences from such social films. Produced by Akhileshwar under the banner of Ishwar Productions, the story was developed by the ‘story department’ of the production company. Dr. P.S. Nair and actor- lyricist-writer Vaanakkutti (real name Raman Pillai) wrote the dialogues for the film. Directed by G. Vishwanath, the film was shot at Central Studios, Coimbatore. The story of Ammaye Kaanaan (1963) closely resembled this film.

Cinematography was by K.Gopal, editing by the director himself, and music by a new composer SGK Pillai, but the songs were imitations of popular Hindi tunes.

Prem Nazir, Kottarakkara Sreedharan Nair, P. A. Thomas, S.P. Pillai, played significant roles in the film. Popular Tamil actress and dancer Rajasulochana was introduced to Malayalam cinema in this film. This was also the debut Malayalam film of playback singer T.R. Gajalakshmi.

Nanu Panicker (Pallom Joseph) who worked in an estate in Ooty entrusted his savings to his brother Pachu Panicker (P.A. Thomas) a document writer in his native village. Pachu Panicker swindled this money forcing Nanu Panicker to work as a ferryman for his livelihood. Lakshmi (Rajasulochana), the only daughter of Nanu Panicker, falls in love with Soman (Prem Nazir), whose father Sreedharan Kartha (Jose Prakash) was indebted to Pachu Panicker. Pachu Panicker wanted to marry his daughter Sarala (T.R. Omana) to Soman.

Soman gets selected for Civil Service and leaves for Delhi. Lakshmi becomes pregnant and out of shame, Nanu Panicker attempts suicide. He is arrested and sent to jail. Lakshmi joins an arts troupe ‘Kalalayam,’ owned by Kuttan Pillai (S.P. Pillai) of which Rajasekharan (Kottarakkara Sreedharan Nair) is a member.

The arts troupe produces a film with Lakshmi as the heroine. Lakshmi becomes a popular actress and adopts the screen name Madhuri. She gives birth to a son, but the baby is sent to an orphanage by Kuttan Pillai who does this without Lakshmi’s knowledge.

Pachu Panicker’s daughter Sarala who is a teacher in the orphanage school brings up Lakshmi’s child without knowing the truth. Sreedharan Kartha calls Soman back intending to unite him with Lakshmi. But they could not find her. Soman is appointed as magistrate. Pachu Panicker decides to file a suit against Kartha to recover his dues. Sarala hides the debt document given by Kartha and Pachu Panicker fails to file the complaint. In desperation, Pachu Panicker attempts to murder Kartha and is arrested.

Rajasekharan attempts to molest Lakshmi and in the ensuing scuffle he is stabbed to death. Lakshmi is arrested for murder. The case comes before Soman. He recognises Lakshmi and refers the case to the Sessions Court.

Soman resigns as magistrate and appears in the Sessions Court to defend Lakshmi. He is able to prove that the killing was in self-defence. Soman, Lakshmi and their lost child reunite.

Prem Nazir and Rajasulochana impressed and formed a popular romantic screen pair. They became a hit pair in Tamil films right from Prem Nazir’s first Tamil film Thai Piranthaal Vazhi Pirakkum .

Ten songs written by Abhayadev were set to tune by SGK Pillai. Enthinaay virinjidam …(T.R. Gajalakshmi), though a direct copy of the C. Ramachandra composition Ye zindagi usee ki hai ….(Lata Mangeshkar) in the Hindi film Anarkali (1953), and the folk number Neeli penne Neeli penne …(Jose Prakash-Thomas Pallom) became hits. The other popular songs from the film were Maala korkoo Radhey …, Pooja cheyvoo njaan sada …(both duets by LPR Varma-Gajalakshmi) and Pratheekshakal naale niravedidaam … (Varma).

Will be remembered : As the debut Malayalam film of Rajasulochana, singer T.R. Gajalakshmi, and as composer SGK Pillai’s first film.

Swapnam (1973)

Special ArrangementNandita Bose and Sudheer in a scene from the film.

Madhu, Sudheer, Kottarakkara Sreedharan Nair, Jose Prakash, Bahadur, Aryad Gopalakrishnan, Nandita Bose, Rani Chandra, Aranmula Ponnamma, T.P.Radhamani etc.

The romantic novel Swapnam, was serialised in a Malayalam weekly before it was published in 1967. It was a best seller. This novel was turned into a film by Sivan under the banner of Saritha Films. Directed by Babu Nanthencode, the film was noted for its brilliant cinematography by Ashok Kumar. Released on August 3, 1973, the film failed at the box office.

The story pivots around the heroine for whom poetry is a strong passion. A slow moving film, it was against the 1970s trend. Ramu Kariat’s Abhayam (1970), based on Perumbadavam Sreedharan’s novel of the same title also pivoted on a similar heroine. This film too failed at the box office. The trend favoured fast moving romantic stories, action-packed thrillers and social stories.

The highpoint of Swapnam was its mellifluous music by Salil Choudhary. The film introduced the Bengali actress Nandita Bose to Malayalam cinema.

A leading building contractor and businessman Viswanathan (Madhu) brings home Gowri (Nandita Bose) whom he met on the road one night on his way back home after a business tour. Viswanathan’s mother (Aranmula Ponnamma) was leading a silent and gloomy life after the death of her husband. Gowri’s arrival brings some cheer into her life.

Soon rumours run rife about Gowri and Viswanathan. Gopi (Jose Prakash), Viswanathan’s brother protests against having Gowri in the house. But Viswanathan ignores all this. Gradually, he withdrew from a decadent past. He proposes marriage to Gowri but she refuses.

Viswanathan’s cousin Vasumathi (Rani Chandra) was Gowri’s college mate. She knew a lot about Gowri’s past. Gowri was in love with Bindu (Sudheer), a young poet who visited her college as a chief guest for a function. Gowri was madly in love with Bindu’s poems and both of them wished to marry. But her father (Kottarakkara) disapproved of this match as he wanted to marry his daughter to a wealthy man. Bindu leaves the city and promises to return rich.

Gowri’s father dies before she could complete her college education. Her brother (Aryad Gopalakrishnan) who was away from home for a long time returns and takes charge of the household. His wife wishes to marry Gowri to her brother (Balan K. Nair), who serves in the Army and is now at home on leave. Gowri refuses this proposal.

One night Gowri escapes from the advances of this man, runs and stands in the middle of the road. This is whan she happens to meet Viswanathan. Gowri continues to wait for Bindu to come back.

Viswanathan completes the construction of a palatial building. The owner of this building is none other than Bindu. Gowri meets Bindu. But she is disappointed to find that Bindu has abandoned poetry and is only after money now. She rejects him. Bindu commits suicide. Gowri leaves the palatial house that Bindu built for her. Viswanathan follows her in his car, picks up her from the road, and takes her home.

Nandita Bose impressed with her charming looks and fine acting. Bahadur and T.P. Radhamani provided moments of laughter.

Five songs written by ONV Kurup and composed by Salil Choudhary became super hits. This was Vani Jayaram’s first Malayalam film. Nee varoo kavya devathey…, Maane maane vili kelkoo… (both by K.J. Yesudas), Shaarike en shaarike…, Mazhavilkodi kaavadi….(both by S. Janaki) and Soura yoothathil vidarnoru… (Vani Jayaram) remain fresh and charming even today.

Will be remembered: As the debut Malayalam film of Nandita Bose and Vani Jayaram. And for its excellent music.

Manavatti (1964)

Sathyan, Madhu, S.P. Pillai, Bahadur, Ragini, K.R. Vijaya, Aranmula Ponnamma, Baby Vinodini

Manavaatti , which released on April 10, 1964, is one of the best musical hits of the Vayalar-Devarajan combination. The social film with a Christian background was planned as an ‘Easter release’, but due to some technical reasons the release was delayed. Social stories with the heroine as the central character who sacrifices her life for the people around her have been a favourite especially in Malayalam and other South Indian languages. Manavaatti also followed this theme.

Produced by Raju M. Mathen under the banner of Thankam Movies and directed by K.S. Sethumadhavan, the film was shot at Newton Studios. The movie also benefited from the art direction by P. N. Menon, cinematography by Ramaswami and editing by N. Poklalath.

Popular stars like Sathyan, Madhu, S.P. Pillai, Ragini and K.R. Vijaya were included in the star list.

This was one of the early films with the settlers in the mountain ranges of Kerala serving as background and the film followed the slang used by the Christian families in such regions.

Susy (Ragini) is an inmate of a convent. She is sent to a remote village with an assignment to take care of a patient, Babu (Madhu) who is suffering from an acute disease. Babu’s brother Jose (Satyan) is abroad for his higher studies. His wife Sheela (K.R. Vijaya), Babu’s mother (Aranmula Ponnamma), and Joymon (Baby Vinodini), his sister’s son who lost his parents in an accident are the other members in the family.

Babu who was a pessimist because of his heart ailment, regains confidence in life due to the love, care and dedicated attention given by Susy. Kind-hearted Susy became beloved to the family, while Babu’s health improved and the young man fell in love with Susy. The peace, happiness and harmony in the family were turned upside down when Jose came back after his studies abroad. Susy was once his lover and it was with her support that he was able to go abroad. Susy had mortgaged her house to raise money for her lover.

Jose was forced by his parents to marry Sheela, who was from a rich family. Susy was not aware that Babu was the brother of her lover who had betrayed her. Jose repented on his past and lost his peace of mind with Susy around him.

Sheela came to know about her husband’s love affair. The family atmosphere became tense and incidents that caused emotional setbacks followed. On the other hand Babu wished to marry Susy, but at first she was not able to think of marrying him as he was the brother of her former lover.

Babu’s health worsened on Susy’s reluctance to accept his proposal to marry her. Persuaded and compelled by all others in the family, Susy agreed to marry Babu. Arrangements for their marriage progressed. Doctors advised heart surgery for Babu and he recovered from disease.

Fate was cruel towards Susy, as the doctors advised against Babu having a family, and hence the wedding did not take place. Susy returns to the convent and the emotional drama concludes with an unhappy ending.

Ragini excelled in her role and impressed the audience. Hilarious comedy scenes involving S. P. Pillai, Bahadur and Adoor Pankajam were appreciated by the audience.

Eight songs written by Vayalar Rama Varma and composed by Devarajan became all time hits. Idaya Kanyake Povuka Nee …. (K. J. Yesudas) later became the opening number of stage programmes of the playback singer. The romantic duet Ashtamudi kaayalile …… (Yesudas-Leela), Devathaaru pootha naaloru …. (A. M. Raja), Neela Varna Kanpeelikal … (P. Susheela) also became instant hits. Other hits include Parakkum Thalikayil …. (Susheela), Muthassi katha paranjurakkaam … (Susheela), Kaattile kuyilin koottil …. (Renuka), and Chummathiri Aliya … (A.L. Raghavan).

Will be remembered: As a good social film which was a box office hit too. Excellent music.

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