Aranaazhika Neram (1970)

Cast: Kottarakara Sreedharan Nair, Sathyan, Prem Nazir, K. P. Ummer, Sankaradi, Adoor Bhasi, Ragini, Sheela, Ambika etc.

CLASSIC MULTI-STARRER Kottarakara Sreedharan Nair, left, and Sathyan in ‘Aranazhikaneram'

‘Aranazhikaneram' is widely considered as one of the best Malayalam films with a Christian family background. The film was true adaptation of the novel of the same title by K E Mathai, popularly known as Parappurath. The novel was a bestseller and bagged several awards. The screen version of the novel also was a huge hit.

To add to the spirit and ambience the film was released on the Christmas Day. It is considered as one of the best works of director K. S. Sethumadhavan. The multi-starrer had leading stars like Kottarakkara Sreedharan Nair, Sathyan, Prem Nazir, K. P. Ummer, Adoor Bhasi, Ragini, Sheela, Ambika cast in important roles.

The dialogues were written by Parappurath, who also played a minor role in the film. Another feature of the film was that popular comic stars like Adoor Bhasi, Bahadur and Sankaradi were cast in important character roles.

The film went to win laurels at the Kerala State Film Awards, like best actor (Kottarakkara), best story (Parappurath) and best director (Sethumadhavan).

The story revolved round an orthodox Christian family headed by the octogenarian Kunjonachan (Kottarakkara) who lives his life by The Book. Kunjonachan stays with his son Mathukutty (Sathyan), a politician. Mathukutty's son Rajan (Prem Nazir) by his first wife is in military service and the family survive on the money he sends. Mathukutty's second wife Deenamma (Ragini) nurses and takes care of Kunjonachan and the old man in extremely fond of her.

Kunjonachan's other children are Geevarghese (Sankaradi), a small-time businessman who always complains of being neglected by his father, Kunju Cherukkan (Bahadur) a farmerwho lives in utter poverty and survives on what his son who works in Bombay sends him and Philippose (Govindankutty) a wealthy estate owner who lives in the same village but offers no help to his brothers.

Rajan comes on his annual leave. He meets and falls in love with Santhamma (Sheela). The family oppose the marriage citing scandals about Santhamma's widowed mother. But Rajan is firm and the marriage takes place with the blessings of Kunjonachan. Meanwhile, Geevarghese is reluctant to marry off his daughter Kuttiamma (Ambika), a teacher in the village school; because he fears that he will lose the money she gives him every month. Kuttiamma is in love with Thomas (Ummer), her colleague. Kunjonachan conducts their marriage.

Rajan dies in an accident at the military camp. The family go through a string of setbacks. Philippose's son Johnykutty (Prem Prakash) marries a labourer in the estate, Philippose's wife Annamma (Meena) turns mad, Kunju Cherukkan's son Danny (Jessey) is arrested on charges of smuggling and Kunjonachan, who believes that the death is ‘only half an hour away' suffers a heart attack and is bedridden. The doctor advises him not to stop his habit of consuming opium all of a sudden. The opium is brought by Sivarama Kurup (Adoor Bhasi), a regular to Kunjonachan's house.

One day Kunjonachan finds his daughter-in-law Deenamma and Kurup in a compromising position. Kunjonachan is shocked, he falls down and loses his power of speech. In his fear that Kunjonachan will spill the beans on their illicit affair, Kurup mixes poison in the opium served to Kunjonachan. The kind-hearted old man dies. In an act of repentance Deenamma also consumes the poisoned opium and dies bringing the film to a tragic end.

Kottarakkara excelled in the role of Kunjonachan. Film critics consider this performance as more impressive than his much acclaimed Chembankunju in ‘Chemmeen'. All other artistes impressed. Special mention must be made of Adoor Bhasi who was outstanding in the negative role.

The excellent music, composed by G. Devarajan and the five songs penned by Vayalar Rama Varma was a highpoint of the film. All the songs became instant hits. A prayer song, ‘Samayamam rathathil njaan …' (P. Leela-Madhuri) gained much importance. It is now widely used as a dirge. This song has an interesting story behind it. The song was written by a German missionary, Rev.Fr Volbrecht Nagel in 1904 while he was a parish priest in Malabar region. Vayalar modified the song by changing a few words, but keeping the feel and idea of the original intact. The original song written by Fr. Nagel is said to have been inspired by an old spiritual written by Wallace Willis in the 1860s, ‘Swing low sweet chariot...' And another interesting fact is that the tune of the Malayalam song from the film resembled the American Western folk ballad ‘Oh My Darling Clementine...' Fr. Nagel's prayer must have been in circulation much before its was included in ‘Aranazhikaneram.' But it gained popularity as a dirge only after it was included in the film.

Other hits from the film include ‘Swarangale saptaswarangale...' (P. Leela), ‘Anupame azhage...' (K. J. Yesudas), ‘Chippi chippi muthu chippi...' (C.O. Anto-Latha Raju), and ‘Deivaputhranu veedhi orukkuvan...' (P. Susheela).

Will be remembered: For the brilliant acting by Kottarakkara, for the music, especially for the dirge ‘Samayamam rathathil...' and as a film that swept the State awards in 1970 .

Kadalpaalam (1969)

Cast: Sathyan, Prem Nazir, K. P. Ummer, Bahadur, Adoor Bhasi, Sankaradi, Sheela, Jayabharathi, Adoor Bhavani etc.

CLASS ACT Sathyan, who impressed in a double role, in a scene from the film ‘Kadalpaalam'

‘Kadalpaalam' was a very popular professional play authored by the renowned dramatist K. T. Mohammed. The play, with a social theme, was written in early 1960s for the Kollam-based troupe Kalidasa Kalakendram and staged throughout the state and outside before being published in book form in 1965. The book was also a best seller.

The wide popularity of this family drama prompted M. O. Joseph to produce the screen version of the play. It was produced by Manjilas and used the same title. It is considered as one of the most successful screen adaptations of a stage play in Malayalam. Directed by K. S. Sethumadhavan, the script and dialogues were written by K.T. Mohammed. The film won for KT the Kerala State Film Award for best dialogue in 1969. The camera was by Melli Irani and editing by M. S. Mani.

The play had a pier (kadalpaalam) prominently visible through the windows of the mansion. It is here that the important incidents in the story take place. The film also used a pier as a very symbolic property. It symbolised the life of the central character, the central theme of the film. The pier allows traffic only from one side unlike the common bridges. The story line matched with the symbol and this was a very novel experience. The film was successful in projecting the idea behind such a symbol through impressive dialogues.

Popular stars of the time starred in the film. Sathyan acted in double role; as the stubborn father and the equally rigid son who fights against the injustice of his father. Prem Nazir, K. P. Ummer, Bahadur, Sheela , Jayabharathi, Adoor Bhavani etc. were the other popular stars who acted in the movie.

The story revolves round the family of Narayana Kaimal (Sathyan), a leading advocate who loses his eyesight. Kaimal is a strict disciplinarian and always tries to impose his thoughts and principles on his children and fellow beings. This creates a conflict with others. Kaimal's elder son Raghu (Sathyan) dislikes the obstinate nature of his father leading to constant conflicts between the two. Kaimal's younger son Prabhakaran (Ummer) who is an advocate and daughter Geetha (Jayabharathi) try to obey their father, but at times they only pretend to obey him. Kaimal now sees the world through the eyes of his faithful servant Appu (Bahadur).

Prabhakaran is in love with Sarala (Sheela), daughter of Kaimal's servant Sreedharan Pillai (Sankaradi). Geetha is in love with Murali (Prem Nazir), the adopted son of Kadeeja (Adoor Bhavani), who lives in the neighbourhood. Appu is warned against telling anything about the love affairs to Kaimal. Raghu believes that they lost their mother at very young age only because of the arrogance of their father. Raghu is married to Prashanthi (Vijayachandrika) who was his father's choice.

Raghu shows his protest by his rude behaviour towards his wife. Kaimal demands to give back the tile factory which he had given to Raghu. But Raghu refuses to part with the factory. Kaimal files a court case against his son.

Geetha marries Murali and Raghu supports them. Kaimal regains his eyesight and is thunderstruck to know about the happenings that took place while he was blind. He decides to pretend to be blind so as to know more about his children. Only Appu is aware that Kaimal is now not blind. Kaimal plots to stop the marriage of Prabhakaran. He offers partnership of the factory to the manager Nanukuttan Nair (Adoor Bhasi) if he could help conduct the marriage of his son, who is a police inspector, with Sarala. Nair agrees to carry out the crooked plan.

The verdict of the court goes against Kaimal. But Prabhakaran hides this from his father. Prabhakaran does not allow Geetha to meet Kaimal and when Kadeeja come and raises voice for justice, Kaimal hits her. Murali attacks Kaimal and now all come to know that Kaimal is not blind. Prabhakaran comes to know about the crooked plan of his father. All the children turn against Kaimal. Unable to stand the setback and the thought that he had failed in his attempts to control his children with an iron hand he suffers a heart attack and dies.

Sathyan excelled in his double role. The film dispensed with comic scenes. Deviating from their usual comedy roles, Bahadur and Adoor Bhasi performed character roles in the film. Bahadur's performance as the faithful servant who is under pressure to act against his conscience is considered as one of the best he has essayed. Prem Nazir, Sheela, Jayabharathi and Adoor Bhavani also performed their roles impressively.

In the 1940 Hindi film ‘Prem Nagar', produced and directed by Mohan Dayaram Bhavnani, there is a similar situation. The hero of the film becomes blind and regains the eyesight subsequently. He pretends to be blind to test the real attitude and behaviour of others towards him. This box office hit was the first film of music composer Naushad. The script and dialogues of the Hindi film was by the German screenplay writer Willy Haas, who was associated with world classics like ‘The Burning Soil' (1922), ‘Joyless Street' (1925) and ‘One Does Not Play With Love' (1926).

Four songs written by Vayalar Rama Varma were tuned by G. Devarajan. The music was excellent. All the songs turned super hits. The film introduced playback singer P. Madhuri and the song sung ‘Kasthuri thailamittu mudi minukki...' was an instant hit. This was the first Malayalam film of S. P. Balasubramaniam. He rendered the haunting solo ‘Ee kadalum marukadalum...' P Leela got the Kerala State Award for the best playback singer for the song ‘Ujjayaniyile gayika...' The folk-based duet sung by K. J. Yesudas and B. Vasantha, ‘Inney poy inney poy...' was another popular hit.

Will be remembered: As the debut film of singers P Madhuri and first Malayalam film of S. P. Balasubramaniam. For the excellent music. And as a very successful screen adaptation of a stage play.

Ezhu Raathrikal (1968)

ON SOCIAL ILLS Kamaladevi in a scene from ‘Ezhu Rathrikal'

‘Ezhu Rathrikal,' the stage play authored by Kalady Gopi, was first published in book form in 1963. The book turned to be a best seller and the popular professional drama troupe, Changanasserry Geedha staged the play the very next year. The drama became very popular. It told the poignant story of the downtrodden.

This was made into a film in 1968 by Babu, the producer of the landmark movie Chemmeen' (1965). The film failed at the box office. In fact, this was case of the film versions of successful stage plays like, ‘Mudiyanaya Puthran' (1961), ‘Puthiya Akasham Puthiya Bhoomi' (1962), ‘Doctor' (1963), etc.

The film version of the stage play ‘Thulabharam' authored by Thoppil Bhasi under the same title and ‘Ezhu Rathrikal' were released the same week. The former went to become a huge hit and bagged several awards also. The main characters in ‘Ezhu Rathrikal' were essayed by the same artistes who performed these roles on stage. Most of them were new to cinema. ‘ Thulabharam,' was a multi-starrer with most of the popular stars of the time like Prem Nazir, Madhu, Sarada, Sheela etc. in lead roles. The absence of ‘stars' is widely considered as one of the reasons for the failure of ‘Ezhu Rathrikal'.

The film was directed by Ramu Kariat. It was picturised at Arunachalam Studios, Kamal Bose cranked the camera, editing was by K D George and art direction by S. Konnanat.

The script and dialogues of the film, written by the playwright himself, closely followed the original text. The film followed the stage pattern, weaving together a number of melodramatic plots, realistic acting conventions and the theatrical device of enclosing disparate characters into a socially ambiguous space. The lack of a ‘cinematic touch' was again one of its glaring flaws. The highpoint of the film was the soulful music by Salil Choudhary.

The story revolved around a dilapidated house, with the dim street lights setting the ambience for the interaction of the characters. A number of vagabonds and social outcasts take shelter in this house every night. The film told the stories of these characters.

The popular stage actor Dominic, popularly known as Alummoodan came up with a brilliant performance as ‘Pashanam Varkey.' This is easily his best role in films. Varkey is a clever mendicant who exploits religious sentiments of people by carrying a board with the picture of a Hindu god on one side and that of a Christian saint on the other. K J Chacko, founder of Changanasserry Geedha, popularly known as Chachappan, did the role of Ikka. An old Muslim he is back from jail after being convicted for the murder of his wife. He is now in search of his daughter, earning his living selling musical instruments. Kamalamma who played the garrulous, lame ‘Chattukali' Maria on stage did well in the film too. Lata, the daughter of playback singer Santha P. Nair acted as the blind and orphan girl Seetha, who is tortured by ‘Udumbu' Govindan (Govindankutty). Seetha's only solace is Ikka, who protects her like her father.

J. C. Kuttikkat, stage actor, popular later as Jessey, the producer-director, did the role of Abu, the romantic young man. He has a story too. Abu is also back from jail after he tried to protect the father of his girlfriend Annamma (Kamaladevi). However, he loses his leg and also his girlfriend. While in jail he comes to know that Annamma is married to Kumaran (Nellikkodu Bhaskaran). A good singer, he lives by singing on the streets. Kumaran suspects that Annamma still has a sof corner for Abu and begins to ill-treat her. Life is miserable for her.

Another impressive character is the hunchback Paramu (Shihab). He is a scrupulous, honest man who fights injustice at his own level. He even shows the courage to attack ‘Udumbu' Govindan.

As the film rolls on it turns out that Seetha is Ikka's long lost daughter. This comes about when she sings a song that her father had taught her when she was a child. Ikka recognises his daughter but the happiness is short-lived. ‘Udumbu' Govindan kills Seetha bringing the film to a tragic, gory end.

The film attempted to tie up diverse narrative strands designed to give a picture of contemporary social problems. In fact, the drama did succeed in projecting social ills, like begging, lack of proper rehabilitation of prisoners freed after their conviction period etc. But the film did not create the needed impact.

Salil Choudhary's music was superb. All the five songs, written by Vayalar Rama Varma, became super hits. The solo by K. J. Yesudas, ‘Kaadaaru maasam, naadaaru maasam...' is one of his best in the language. Salil Choudhary, a pioneer in Chorus singing, created one of his best in this genre with ‘ Kaka karumbikale...' (Yesudas, Anto, Sreelatha, Latha). The other hits include ‘Rathri rathri...' (P. B. Sreenivas), ‘Panchamiyo pournamiyo...' (P. Leela) and ‘Makkathu poyi varum...' (Latha).

Will be remembered: As the debut film of actor Alummoodan and playwright Kalady Gopi. For its excellent music, particularly for the super Yesudas hit ‘ Kaadaaru maasam, naadaru maasam...'

Nithyakanyaka (1963)

Sathyan, Ragini, Ambika, Kottarakkara, Thikkurissi, S. P. Pillai, Bahadur, Kambissery Karunakaran, Adoor Pankajam etc.

POPULAR SOCIAL MOVIECover of the ‘Nithyakanyaka' song book

The 100th Malayalam film, ‘Nithyakanyaka was released on February 22, 1963. The social movie was remake of the successful Tamil film ‘Ethirparathathu' (1954) produced by A. K. Balasubramaniam who also produced the Malayalam remake under the same banner ‘Sharavanabhava & Unity Pictures'. Sivaji Ganesan, Padmini and V. Nagaiah played the main roles in the Tamil film. The film was based on a story authored by C. V. Sreedhar who later went on to become a successful producer-director.

‘Nithyakanyaka' was probably the last in the series of films made on the same story. In 1956, the renowned director Yoganand came up with the Telugu version ‘Ilavelpu' with Nageswara Rao and Anjali Devi in lead roles. In 1957 the legendary producer-director L .V. Prasad made a Hindi version titled ‘Sharada' with Raj Kapoor and Meena Kumari cast in the main roles. The success of the Tamil, Telugu and Hindi versions must have prompted the producer to make a Malayalam version. When compared to the other language versions, ‘Nithyakanyaka' was only a moderate hit.

The renowned Malayalam novelist Ponkunnam Varkey wrote the dialogues for ‘Nithyakanyaka'. The film was frame-by-frame copy of the ‘Ethirparathathu'. The dialogues were impressive. P. Ramaswamy, who handled the camera for the Tamil film, also worked in the Malayalam film. In fact, it was his Malayalam debut.

Sathyan and Ragini played the lead roles in the film. Other popular stars of the time, Thikkurissi Sukumaran Nair, Kottarakkara Sreedharan Nair, Ambika, S. P. Pillai handled other important roles. This was the third directorial venture of the prolific Malayalam director K. S. Sethumadhavan; he had directed ‘Gnanasundari,' and ‘Kannum Karalum' before this. The music composed by G. Devarajan was the highpoint of the film.

Appu Menon (Kambissery Karunakaran), a primary school headmaster brings up his children Suku (Kottarakkara) and Lata (Ragini) amidst utter poverty. Suku becomes an advocate and weds his college mate Nalini (Ambika). Soon after the marriage, Suku leaves home with his wife and settles down separately leaving Appu Menon and Lata in penury. Appu Menon's dreams of a bright future for the family with the support of his son Suku crash.

Ravi (Sathyan), the only son of the rich landlord Vasu Kurup (Thikkurissi) stays in a portion of Appu Menon's house. Ravi is an engineering student in a nearby college. Ravi and Lata fall in love. Ravi promises Lata that he would approach her father with the marriage proposal once he completes his studies.

Meanwhile, Ravi gets a scholarship for higher studies abroad and leaves. News arrives that Ravi dies in an air crash. But the truth is that he is saved by some tribes from the scene of the crash. But Ravi loses his eyesight in the accident. Everyone back home believe that Ravi is dead.

A spendthrift, Suku borrows money from financiers. He also gets into bad company and indulges in heavy gambling. This leaves him in huge debt. Fearing action from the creditors he is forced to leave home. Nalini seeks refuge at Appu Menon's house. The death of Ravi leaves his father Vasu Kurup heartbroken. His friends and relatives ask him to marry and he agrees. Plans are afoot to marry him to Lata, who does not know that Vasu Kurup is Ravi's father. Both of them come to know of this only on the first night of their marriage. They decide to remain husband and wife only in the yes of the society, without any kind of physical relationship.

Unable to face the awkward situation Vasu Kurup goes on a pilgrimage. He finds his son Ravi in the holy town of Varanasi. Vasu Kurup brings his son home. Ravi undergoes a surgery and regains his eye sight. He is shocked when he finds that his stepmother is none other than his lover Lata. Kurup suffers a heart attack and dies.

Lata considers that she is a widow and refuses to marry Ravi, who is now her stepson. Suku, Nalini and other friends try hard to force Ravi and Lata into marriage. Ravi is troubled, while Lata decides to remain a ‘Nithyakanyaka,' a virgin for the rest of her life.

Sathyan, Ragini, Thikkurissi and others essayed their roles impressively. But the comedy scenes involving S. P. Pillai, Bahadur and Adoor Pankajam did not jell with the emotionally charged mood of the film.

The music was excellent. The seven songs in the film written by Vayalar Rama Varma were tuned by G. Devarajan. The memorable song ‘Kannuneer muthumaai...' was sung by K. J. Yesudas as well as P. Susheela separately. The one by Yesudas is considered one of the best this gifted singer has rendered.

The devotional number ‘Krishna Krishna Guruvayoorappa...' was pictured with some famous temples in the background.

The song tuned as a Ragamalaika, or a cluster of ragas, that included popular Ragas like Kaapi, Begada, Mohanam and Sindhu Bhairavi was another popular hit.

‘Enthenthu mohangal aayirunnu...' (Susheela-Yesudas), ‘Marakkumo enne marakkumo...' (Yesudas- Susheela) and the comedy number ‘Kayyil ninne kittiyal oru...' by Pattam Sadan were the other hits from the film.

Will be remembered: As the 100th Malayalam film. For the excellent music, particularly for the unforgettable Yesudas number ‘Kannuneer muthumaai...'

Anarkali (1966)

Love story Prem Nazir and K R Vijaya in the film, Anarkali
Produced and directed by M. Kunchacko under the banner of X L Productions, ‘Anarkali' was the Malayalam version of the much filmed 16th century Mughal romance of Prince Salim and his love for the slave girl Anarkali.

This story was made as a silent movie in 1928 under the title ‘Loves of a Mughal Prince'. Directed by the legendary Bengali actor and director Charu Roy, jointly with Prafulla Roy, the film was a box office hit. The same year R. S. Choudhary came up with another silent version of the love story ‘Anarkali' or ‘Monument of Tears.' In 1935 R. S. Choudhary came up with a talkie ‘Anarkali' (Hindi) with the glamour girl of the time Ruby Myers (screen name Sulochana) in the female lead.

In 1953 Filmstan produced the Hindi film ‘Anarkali,' directed by Nandlal Jaswantlal with Pradeep Kumar and Bina Rai in the lead roles. This version became a model for the future versions of the love story in various languages. Music composed by C. Ramachandra was excellent and the film created new records. The first South Indian language version ‘Anarkali' was made in 1955 simultaneously in Telugu and Tamil by Vedantam Raghaviah. With the romantic pair Nageswara Rao and Anjali Devi in the lead roles, the film was a musical hit with some beautiful music score by Adi Narayana Rao.

‘Mughal E Azam' (1960), the classic, mega budget Hindi film produced and directed by K. Asif is considered as the best film version of this immortal love story. The artists who performed the main characters immortalised the historical personalities, Prithviraj Kapoor as Emperor Akbar, Dilip Kumar as Prince Salim, Madhubala as Anarkali and Durga Khote as Empress Jodha Bai.

This film was originally produced in black and white with a few dance sequences in colour. The music composed by Naushad is widely considered to be his best.

A blend of history and imagination, the majestic love story was first retold in literature by the renowned Urdu writer Imtiaz Ali Taj in his play ‘Anarkali' (1922). This successful play forms the base for the screen versions.

In Malayalam, the love story was staged as musical operas in 1930s and 1940s. The musical opera ‘Anarkali' or ‘Ashrukudeeram' authored by Swami Brahmavrathan in 1926 was staged by Kairali Nadana Kala Samithi.' Legendary stage artistes like Sebastian Kunju Kunju Bhagavathar, Vaikom Vasudesvan Nair, Oachira Velukkutty etc. had acted in this. Another successful stage version of the love story authored by K. K. Velayudhan Pillai, ‘Anarkali' or ‘Bashpa Mandapam' also became very popular. The stage versions of the love story became so popular that the names of the characters were suffixed to their original names like ‘Akbar' Shankara Pillai, ‘Anarkali' Vasudev etc.

The Malayalam film ‘Anarkali' (1966) was a copy of the 1953 Hindi version produced by Filmstan. Script and dialogues were by the noted novelist Vaikom Chandrasekharan Nair. Popular stars of the time like Sathyan, Prem Nazir, Thikkurissi, Kottarakkara, K. R. Vijaya etc. handled the main roles. But they paled in comparison to the performances of the earlier Hindi and Tamil versions. The music by M. S. Baburaj was superb. The film was shot at Udaya Studios but the palaces and other sets created there failed to give the film the much-needed ‘historical touch'.

The earlier Hindi and Tamil versions were partly shot at original historical This adversely affected the quality of the Malayalam film. The impact of the stage plays and other language screen versions of the love story had not faded out of the Malayali psyche and hence the Malayalam film failed to impress.

Prince Salim (Prem Nazir), son of Akbar (Satyan) falls in love with Anarkali (K R Vijaya). Akbar forbids Salim to prolong this affair as he wanted his son to marry a Rajput princess and thereby strengthen communal harmony.

But Salim becomes blind in his love for Anarkali leading to a struggle between father and his adamant son. It also turns into a conflict between public duty and personal desire.

All the attempts of Akbar and Minister Man Singh (Thikkurissi) to separate the lovers fail. Salim and Anarkali are irresistibly drawn towards each other and are soon deeply in love. Salim even leads a campaign against his father. In the ensuing war Salim is defeated and sentenced to death. Empress Jodha Bai (Ambika) begs to her husband Akbar for the life of her son. But the dutiful emperor does not accede to her request. Anarkali is sentenced to be buried alive. Salim escapes from the jail and rushes to save Anarkali from the punishment. But before he reaches the burial ground, Anarkali's punishment is executed.

The storyline of the various versions of the classic love story had variations, particularly the climax. In most of the screen versions Anarkali succumbs to death, being buried alive. But in K. Asif's ‘Mughal E Azam', the slave girl is saved by Akbar unknown to the world. In N. T. Rama Rao's Telugu version, both the lovers are forgiven by the emperor. In the Malayalam film, the usual ending of the story is adapted.

The needless comic sub-plot that was totally disconnected with the main theme and diluted the poignancy of the emotional love story. Adoor Bhasi, S. P. Pillai, Alummoodan and others created a show that was similar to what they had done in other films earlier.

Playback singer K. J. Yesudas acted in a minor role, as the legendary singer Tansen. Music director L. P. R. Varma also did a role in the film. Interestingly P. B. Sreenivas sang for Yesudas in a song sequence, probably the only instance where another singer has sung for him in a film.

The 10 songs written by Vayalar Rama Varma were tuned by Baburaj. The songs had an Hindustani flavour. Most of the songs became instant hits. The romantic duet ‘Nadikalil sundari Yamuna...' (Yesudas- B. Vasantha) is noted for the new style, where the female voice only hums in accompaniment. The haunting solo ‘Ezhu chirakulla theru....' (P. Susheela), the classical-based number ‘Sapta swara sudha sagarame...' (P. B. Sreenivas-M. Balamuralikrishna), ‘Maadhalappoove maadhalappoove...' (Susheela), ‘Chakravarthikumara nin premasamrajyam....' (L. R. Easwari), ‘Pranayaganam paaduvaanai...' (Susheela) were the other hits from the film.

Will be remembered: For the excellent music and some memorable songs.

Aashadeepam (1953)

BILINGUAL HITA scene from ‘Ashadeepam'


The grand success of the film ‘Amma' produced by T E Vasudevan in 1952 in Malayalam and Tamil simultaneously encouraged him to produce ‘Ashadeepam'. Like his earlier film, this one was also simultaneously produced in Tamil under the title ‘Ashaimakan'. Both the Malayalam and Tamil versions were released on the same day, September 18, 1953.

The main characters in both the language versions were performed by almost the same artistes, Satyan, Gemini Ganeshan (as R Ganeshan in the title cards), T. S. Baliah, Padmini, B. S. Saroja, and Girija. ‘Ashadeepam' was the Malayalam debut of Gemini Ganeshan, the romantic hero of Tamil cinema, who played a negative role in this film. Music director V. Dakshinamoorthy also acted in a minor role, that of a school teacher in the film.

The story of the film was a repetition of the social movies released earlier. The script and dialogues were written by the noted Malayalam novelist Ponkunnam Varkey. And the dialogues for the Tamil version were written by a Tamil scholar, Nagercoil Padmanabhan.

The film was shot at Vauhini Studios, Madras. The dances choreographed by K. R. Kumar were one of the main attractions of the film. A special dance performed by Padmini and her group turned a topic of discussion. A rotating multi-storied, expensive set was designed for the dance sequence. Rajagopal, Adhi.M. Irani and Venkittaraman, three noted technicians of the time, handled the camera. Editing was by M S Mani, and this was his debut film.

The South Indian film version of the Sarathchandra Chatterji's immortal love story, ‘Devadas' (Tamil/Telugu) directed by Vedantam Raghaviah and starring Nageswara Rao and Savithri was released just a week before the release of ‘Ashadeepam'. ‘Devadas' was running to packed audiences in Tamil Nadu and Kerala. In spite of this ‘Ashadeepam' and ‘Ashaimakan' did well at the box office.

Panikkar (T. N. Gopinathan Nair), the wealthy landlord and his widowed sister Lakshmi Amma (Aranmula Ponnamma), live in the same town. Panikkar's son Shekhar (Gemini Ganeshan) is a city wastrel, one who is after wine, women and gambling. The company of Vikraman (T. S. Baliah) and a dancer Jayanthi (Padmini) only helps to make matters worse. They plays all sort of dirty tricks and loot Shekhar's wealth.

Lakshmi Amma struggles hard to bring up her children Chandran (Satyan) and Shantha (B. S. Saroja). Her wealthy brother and his wife Bhanu Amma (Pankajavalli) in no way help Lakshmi Amma. After completing his college studies, Chandran wanted to study Law and approaches Panikkar for financial help. Bhanu Amma insults him and sends him back empty handed. Chandran borrows money from his friends and leaves the town to study.

Bhanu Amma thinks that married life may change the character of her son Shekhar and with the help of her faithful servant Pankan (K. Ramaswami) go around searching for a match. But they find that no parents are prepared to give their daughters in marriage to a vagabond like Shekhar. Bhanu Amma plans to conduct the marriage of Shekhar with Shanta. A helpless Lakshmi Amma accedes to the request from her brother. Chandran rushes home when he comes to know about the secret plans of the marriage, but he fails to reach before the wedding.

Marriage does not change the character or Shekhar's way of life. All his wealth is manipulated and controlled by Jayanthi and Vikraman. Shantha is ill treated at her husband's house. She gives birth to a child, her health deteriorates and is falsely accused of having tuberculosis.

Chandran returns home after completing his studies. He brings Shanta back home. Chandran falls in love with Sarala (Girija), the daughter of the local postmaster. On the day of his wedding with Sarala, the palatial house of Panikkar, ‘Kamalalayam' is attached by the court after people who had loaned huge amounts to Shekhar had moved the court. Chandran gives shelter to Bhanu Amma in his house. Shekhar who realises the true nature of Jayanthi and Vikraman and their hidden agenda quarrels with them. In the ensuing fight Vikraman is killed. Vikraman's men murder Bhanu Amma. Shekhar is sentenced to seven years imprisonment.

A reformed Shekhar confesses before his wife Shantha and Chandran. Shantha forgives her husband and tells him she will wait for him to come back, giving Shekhar a flame of hope - Ashadeepam.

All the actors came out with impressive performances. Gemini Ganeshan in a negative role, and Padmini as a vamp were good in roles that were a total deviation from their usual roles. The film dispensed with comedy scenes.

The 10 songs written by P Bhaskaran were tuned by Dakshinamoorthy. Some of the songs became instant hits. The classical based numbers, ‘Saranam mayilvahana…' (M. L. Vasantha Kumari) and ‘Jananai jayikka nee Malayalamey... (Vasanthakumari and P. Leela) became very popular. A lullaby sung by Leela, ‘Kanmani vaa vaa vo...' was a direct copy of the popular Lata Mangeshkar number ‘Dheere se aaja re...' from the Hindi film ‘Albela' (1951). The Malayalam copy of the Hindi tune composed by C. Ramachandra was also a hit. Another song, ‘Gramathin hridayam..' is considered as one of Jikki's best in Malayalam. The romantic duet, ‘Pandhalittu mele vaanam vishalmaai...' (A. M. Raja-Leela), and ‘Poo veno pudu pookkal veno...' (Leela), and the dance number featuring the lovely sets specially designed for the song sequence ‘Veeshi ponvala…' were other songs that went on to become popular.

Will be remembered: As the debut Malaylam film of Gemini Ganeshan and for the excellent music.

Laila Majnu (1962)

Prem Nazir, Satyan, Thikkurissi, T. S. Muthiah, Adoor Bhasi, L. Vijayalakshmi, Chandni, Kodungalloor Ammini Amma.

Love story retold Prem Nazir and L. Vijayalakshmi in a scene from the film


‘Laila Majnu', produced under the banner of Kerala Pictures in 1962 was the Malayalam version of the classic Sufi legend filmed extensively in Hindi and other South Indian languages. The immortal love story was filmed twice during the Silent Cinema era itself, in 1922 and 1927. The silent film produced by Excelsior Pictures in 1927 under the direction of Manilal Joshi with Zubeida, Vakil and Shehzadi in the lead roles was a box office hit.

During the very first year 1931, when Indian cinema began to talk, the eternal Persian love story had two screen versions in Hindi. The film produced by Krishnatone under the direction of K. Rathod did not perform well at the box office. Madan Theatres, which produced the silent version in 1922 came up with the talking film in 1931 with the singing sensations of the time, Master Nissar and Jahan Aara Kajjan in the lead roles.

The film directed by J.J.Madan created new records in collection at the box office. Music composed by Vrijlal Varma was excellent and the leading singing stars Master Nissar and Jahan Aara Kajjan became the centre of attraction in the cinema world.

In 1945 Hind Pictures came out with a Hindi version of the love story with Swarnalatha and Nazir in the lead roles. Again in 1953 All India Pictures produced another Hindi version with Shammi Kapoor and Nutan in the roles of the lovers. Both the films succeeded at the Box office.

In the South, the Telugu film produced by Bharani Pictures in 1949 under the direction of P.S.Ramakrishna Rao is considered the best version of the Sufi legend in South Indian cinema.

Superstars of that time, A Nageswara Rao and P. Bhanumathi played the roles of the lovers. The film was dubbed into Tamil and both the Telugu and Tamil versions were huge hits at the box office. The very next year, in 1950 Balaji Pictures came up with another Tamil version under the direction of F. Nagoor.

The leading pair of the time, the singing star T.R.Mahalingam and M.V. Rajamma played the main roles. The Tamil dubbed version of the Telugu film starring Nageswara Rao and Bhanumathi left far behind the original Tamil version of the love story.

All the Hindi and the South Indian language versions were produced under the same title, ‘Laila Majnu'. The story was filmed in Persian (1936), Pushtu (1940) languages also under the same title.

B.N.Konda Reddy, brother of the legendary producer and director B.N.Reddy who founded Vauhini Studios, produced the Malayalam version of the eternal Persian love story jointly with the renowned Malayalam lyricist and director P. Bhaskaran.

The fact that the most popular love story was repeatedly filmed in Hindi and other South Indian languages but was not filmed in Malayalam might have inspired Konda Reddy who was basically a cameraman to go for a version in the language. P.Bhaskaran who had good relations with the Vauhini Studios joined in the project as co -producer and also directed the film. The film was shot at Vauhini Studios and some of the scenes were shot in the deserts of Rajasthan. Probably this was the first Malayalam film to be shot at desert locations.

Jagathy N.K.Achary wrote the script and dialogues of the film. Art direction by the renowned artist P.N.Menon and choreography by C.Gopalakrishnan was impressive. Technically skilled crew at the Vauhini studios handled their assignments well. Editing was by Kripa Shankar, processing by P.M.Vijaya Raghavulu, costumes by P.Muthu etc. all led the film to tremendous success at the box office.

The presence of Prem Nazir, Satyan and Thikkurissi, Kottarakkara etc added star value to the film. ‘Laila Majunu' was released in February, 1962 . Tamil and Telugu actress L.Vijayalakshmi, who acted as heroine in the super hit Christian devotional Malayalam film, ‘Gnana Sundari' (1961) was very popular and familiar to the audience. L.Vijayalakshmi played Laila's role in the Malayalam film ‘Laila Majnu' and her performance as the dedicated lover who met with a tragic death along with her lover impressed the audience very much.

The songs written by P.Bhaskaran were set to tune by M.S.Baburaj. An Egyptian dancer, Laila, was invited to perform a dance number in the film which was an added attraction of the film. The familiarity of the quite often repeated story on the screen in various languages did not breed contempt in the audience and the film had a long run at all releasing centres.

Laila (Vijayalakshmi) , the daughter of the immensely rich and powerful landlord Sarvari (Thikkurissi) falls in love with her childhood chum Qais (Prem Nazir). All the attempts of Sarwari to separate the lovers fail. Qais is the son of an ordinaty Arab merchant Amir Ameeri (T S Muthiah) who earns his livelihood by selling animal skin and the horns of stags. Qais is accused of insanity by the crooked landlord Sarvari and he plays all nasty tricks to keep him away from his daughter. When all the attempts to separate the lovers fail, Sarvari shifts his residence to another city on the ouskirts of the holy town of Mecca secretly.

Unable to bear the separation from Laila, the desperate lover Qais wanders in the deserts like a lunatic. Laila meets Qais in the loneliness of the desert. Qais is beaten severely by Sarvari's men and is thrown out in the desert. Qais is stoned by the street children and his health deteriorates. Amir Ameeri finds his son in a very pathetic condition and he takes him to Sarvari's palace. Amir Ameeri falls at the feet of Sarvari and begs for his mercy and requests for the marriage of Laila with Qais. A kind father melts and Sarvari agrees to the marriage on condition that the court of scholars should approve Qais is not insane.

In the meantime Baqthum (Satyan), the Prince of Iraq happen to see beautiful Laila and he falls in love with her at first sight. Baqthum betrays his former lover Zarina (Chandni) to win Laila's love. Baqthum sends his messenger to Sarvari with the proposal for his marriage with Laila. Sarvari breaks his promise to give his daughter's hands in marriage to Qais and conducts Laila's marriage with the Prince Baqthum.

Broken hearted Qais is now a real lunatic. He wanders in the deserts in search of his beloved Laila. Eventually once Laila happen to meet her beloved Qais in the lonely deserts on her return from Iraq. The separated lovers meet in the deserts. Laila and Qais lose their lives in a sandstorm as if to unite in the other world.

Prem Nazir and Vijayalakshmi performed their roles in an impressive manner. Thikkurissi, Chandni, Kottarakkara, Adoor Bhasi, Bahadur, all performed the roles assigned to them quite appreciably. T.S.Muthiah's performance as the father of the hero is considered as his best after his super performance in the film ‘Paadatha Painkili' (1957). The hilarious comic scenes involving Adoor Bhasi, Bahadur etc, were just repetitions from earlier Malayalam films.

Music composed by M.S.Baburaj was one of the main attractions of the film. Some of the songs became instant hits. ‘Koottinilamkili Kunjaattakkili ....' (A.P. Komalam, P. Leela),

‘Thaarame Thaarame Ninnude Naatttilum....' (Udayabhanu), ‘Chudu Kanneeralen Jeevitha katha....' (Udayabhanu) stood the test of time and still remain favourites among the old film songs.

Other hits from the film include ‘Annathinum Panjamilla.....' (Mehboob, K.S. George, chorus ) , ‘Pavanurukki Pavanurukki....' (Udayabhanu, P Leela) etc.

The lyrics authored by P.Bhaskaran are considered as some of his best. And the film is graded as one of the best compositions of the talented music director M.S. Baburaj.

Will be remembered:

For the excellent music.