Virunnukaari (1969)

Prem Nazir, Madhu, K. P. Ummer, P. J. Antony, Adoor Bhasi, Sheela, Ambika, Jayabharathi, Adoor Bhavani

Virunnukari, released on December 10, 1969, was a good social film in Malayalam, but not a success commercially. Its failure at the box office was mainly attributed to the flaws in direction. Produced by Venu and Sreedhar under the banner “Santhasree”, the film was shot at Newton and Prakash Studios. Director Venu himself wrote the script for the story. Dialogues written by P. J. Antony impressed the audience. Cinematography was by Krishnankutty and G. Venkitaraman edited the film.

Popular artistes such as Prem Nazir, K. P. Ummer, P. J. Antony, Adoor Bhasi and Adoor Bhavani acted in the film. The popular heroines of 1960s, Sheela, Ambika and Jayabharathi were included in the cast. The heroine struggling and sacrificing her life for the people she loved, even though they were not related to her was a common formula for Indian cinema in late 1950s and 1960s. Blockbuster Malayalam films like Manavatti (1964) and Adyakiranangal (1964) with similar storylines might have prompted the producers of Virunnukari to follow the formula. Tamil film Kulavilakku (1969) also followed the theme.

Raghava Menon (P. J. Antony), a primary school teacher lives peacefully in a village with his wife Kalyani Amma (Adoor Bhavani) and their children. His son Madhavankutty (Prem Nazir) is an unemployed graduate. Menon’s daughter Malathi (Ambika) is in love with Madhavankutty’s friend Surendran (Ummer). Menon’s younger daughter Santha (Jayabharathi) loves Sethu (Madhu) who is their neighbour and son of a rich landlord. Radha (Sheela), daughter of Menon’s friend gets employed in the village Block Office and she stays with Menon’s family.

Surendran and Radha fall in love at the first sight. With in a short period Radha becomes a member of Menon’s family and becomes the pet of Menon who loves her as his own daughter. When Radha comes to know about Malathi’s love for Surendran, she sacrifices her dreams of a family life with Surendran. She compels and convinces Surendran to marry Malathi and he reluctantly accedes to her request. Menon was staying in a in a rented house owned by Ananthakrishna Iyer (Adoor Bhasi), who wanted him to clear the rent arrears failing which he threatened to proceed against Menon legally. Radha helps Menon pay off the arrears. Radha tried her best to shelter and support Menon’s family. Meanwhile, Menon’s daughter Santha becomes pregnant by Sethu. And he does not come forward to save Santha’s honour. Radha, who hears this, talks to Sethu’s father and even succeeds in conducting Santha’s marriage with Sethu.

Despite her earnest efforts to support and protect Menon’s family, Radha is misunderstood by Malathi and Kalyani. They treat her as their enemy. Malathi was suspicious that Surendran still loved Radha and he could do nothing to clear the misunderstanding. Only Madhavankutty knew Radha’s true love for his family. When humiliation reaches an unbearable level, Radha decides to leave home. She bids good bye to all and leaves Menon’s house. Madhavankutty makes his family understand Radha’s true and selfless love.He consoles Radha and convinces her to come back. The movie ends on a good note with the good-hearted Radha coming back to Menon’s home. Sheela impressed the audience in her pivotal role. In a rather unusual format, the ‘Evergreen Romantic Hero’ of Malayalam Cinema, Prem Nazir, is not paired with a female lead star in this film, though three popular heroines of the time were in the film. P. J. Antony’s natural style of acting was well appreciated.

Songs written by P. Bhaskaran and set to tune by M.S. Baburaj were sung by popular singers. Muttathe Mulla Thann ... (S. Janaki) and Vaasantha sadanathil … (P.Jayachandran) became popular. Other hits from the film include Innale njanoru swapna shalabhamaay… (C. O. Anto, Janaki), Ambadi Pennungalodu … (P. Leela), Pormula kachayumaay … (P. Leela) and Chumalil swapnathin …” (K. J. Yesudas)

Pakalkinaavu (1966)

Sathyan, Nellikkodu Bhaskaran, Premji, M. S. Namboodiri, Adoor Bhasi, Sarada, Vasanthi, Baby Sreelatha etc.

Pakalkinavu, releasaed on April 7, 1966, was a runaway success. The dialogues were by M. T. Vasudevan Nair for a story specially developed by him for the film. Directed by S. S. Rajan, the film was produced by N. R. Vaidyanathan under the banner of Kannamma Films.

The story line had similarities to some of the Tamil films like Thirumbippaar (1953), directed by T. R. Sundaram, and Raktha Kanneer (1954), directed by Krishnan-Panju.

The protagonist in these films has a negative shade; a womaniser who changes by the end of the film. In fact, this theme was experimented with success in early costume dramas like Gemini’s Mangamma Sapatham (1943) and Telugu social movies like B. N. Reddy’s Swarga Seema (1945).

Pakalkinavu was shot at Satya and Venus studios. The outdoor locations were the villages in Wayanad. Cinematography by Bhasker Rao, editing by G. Venkitraman and music by B. A. Chidambaranath were commendable.

Babu (Sathyan) is a rich planter and businessman. For Babu, life is meant to be enjoyed to the full. In Bangalore he befriends Chandran (Nellikkodu Bhaskaran) who had come in search of a job. Chandran stays with Babu in a hotel. Here, Chandran meets Malathi (Sarada) who is also job-hunting.

Babu helps them get jobs. Chandran is in love with Malathi, while Babu also has an eye on Malathi. Soon, Malathi falls into Babu’s evil trap. And the moment Babu knows that Malathi is pregnant, abandons her.

Chandran gives refuge to Malathi. They fail to locate Babu’s whereabouts despite their continued search. Malathi dies after giving birth to a baby girl. Malathi’s father Sreedharan Nair (Premji) takes the child to their native village in Kerala. Malathi’s younger sister Shari (Vasanthi) looks after the child, Thankamani (Baby Sreelatha).

Fed up with a wasted life Babu returns to his estate bungalow in Kerala. Here he becomes friends with Thankamani. He goes on to meet and marry the child’s aunt Shari not knowing the identity of Thankamani.

In due course, Babu finds Thankamani an irritant in his married life.

He even suspects that Thankamani is Shari’s daughter and begins to ill-treat her. Babu’s attempt to send Thankamani to Sreedharan Nair’s house is objected to by Shari. Angered, Babu leaves for Bangalore.

Babu meets Chandran and comes to know that Thankamani is his daughter. Babu repents his cruelty towards Malathi and Shari. He returns to the village and confesses to Sreedharan Nair and Shari. He lives happily with Shari and Thankamani bringing the film to a happy ending.

Sarada and Sathyan virtually carried the film on their shoulders. Adoor Bhasi, as a waiter, and M.S. Namboodiri, as the estate manager, impressed in their cameo roles.

All the five songs written by P. Bhaskaran and set to tune by Chidambaranath turned super hits. Keshadi paadam thozhunnen…(S. Janaki), Kaakkakkum poochakkum kalyanam…(K.J.Yesudas), Guruvayoorulloru Kannanoru dinam…(Janaki), Pakalkinavin sundaramamoru…(Yesudas) and Nidra thann neeraazhi…(Janaki) have stood the test of time.

Will be remembered: As a good social film and for its memorable songs.

Aniyathi (1955)

Prem Nazir, T. K. Balachandran, T. N. Gopinathan Nair, Kottarakkara Sreedharan Nair, S. P. Pillai, T. S. Muthiah. Miss Kumari, Kumari Thankam, etc.

Social films focusing on brotherhood and the sacrifices of brothers and sisters has been a favourite subject of Indian cinema. Mehboob Khan’s Bahen (1941), New Theatres’ My Sister (1944) are examples of such movies. This trend emerged in the 1950s with Hindi films like Bhai Behan (1950), Bhai ka Pyar (1951) etc. In the South Sivaji Ganesan’s debut movie Parasakthi (1952) and the MGR-starrer En Thankai (1952) also followed this theme. En Thankai was remade in Hindi as Chhoti Behan (1959), in Telugu as Na Chellalu (1953) and in Oriya as Punarmilan (1977). And all these films were hits.

The unusual success of such films prompted P. Subramaniam to produce the Malayalam film Aniyathi that told the story of a sister and her sacrifices. Released in 1955, on Christmas Eve, the film went to become a huge hit. Produced under the banner of Neela Productions and directed by M. Krishnan Nair, the film was shot at Merryland Studios. The script and dialogues were by T. N. Gopinathan Nair.

Shekhara Pillai (T. N. Gopinathan Nair), once a rich landlord, now depends heavily on his son Appu (Prem Nazir), who is employed in Bangalore, to take care of the family. Appu’s sister Ammini (Miss Kumari) is a college student and his father is plagued by ill health. Appu loses his eyesight and returns home. Ammini hides this fact from Pillai.

On his journey back home Appu meets Pachu Kurup (Kottarakara) who worked in Burma but had now returned home. His brother Bhargavan (Muthiah) runs a restaurant, which is fully financed by his brother Kurup. Soon, Kurup takes possession of the restaurant throwing Bhargavan and his wife out.

Kurup’s evil eye falls on Ammini. When Shekhara Pillai comes to know that his son Appu is blind, he dies heart-broken. Pillai’s house is confiscated. Appu and Ammini move to a small hut. Ammini is forced to sell flowers and garlands for a living. Appu accompanies her. One day Babu (T. K. Balachandran), a police constable, saves Appu from being run over. He falls in love with Ammini.

Kurup befriends Appu and supports him financially. He then spreads scandals about Babu and Ammini and Appu believes them. Babu proposes marriage to Ammini. She tells him that he will have to wait till her brother regains his eyesight. Babu suspects Ammini when he comes to know about Kurup’s frequent visits to her house. One night Kurup attempts to molest Ammini. Babu reaches in time to save her. He comes to know of Kurup’s evil designs and misunderstandings are cleared. Appu regains his eyesight; Babu weds Ammini. There is sub-plot to this film involving Jayanthi (Kumari Thankam), Ammini’s college mate, and SP (S. P. Pillai). Jayanthi is mentally challenged. Doctors suggest that a marriage will help her get over this. She gets married to SP. This leads to some hilarious comic scenes.

Prem Nazir and Miss Kumari impressed. This was one of those rare occasions where Prem Nazir was not paired with a heroine.

The songs written by Thirunainarkurichi Madhavan Nair were set to tune by Brother Lakshmanan. Poomara kombathu … (P. Leela), Kochu kuttathi …(Santha P. Nair), Bahu bahu sukhamam … (Cochin Abdul Khader) became quite popular. Ananda nandakumara … (Kamukara Purushotaman- Leela) based on Yamuna Kalyani raga and Paahi sakala janani … (Leela-Rajalakshmi) based on Gauda Malhar are perhaps the earliest semi-classical film songs in Malayalam. Paadedi paadedi penne … (Santha P. Nair) is considered as the first parody in Malayalam cinema. It was a parody of some of the Hindi film hits of the time.

Will be remembered : As a successful social film; for its music, especially the classical-based songs and for the first ever parody song in Malayalam cinema.

B. VIJAYAKUMAR

Thurakkaatha Vaathil (1970)

Prem Nazir, Madhu, Ramankutty, Bahadur, Nellikkodu Bhaskaran, Ragini, Jayabharathi , Philomina

Popular playwright K.T. Mohammed is renowned for his scripts and dialogues written for social movies, especially with a Muslim background. Kandam Becha Coattu (1961) and Moodupadam (1963) are examples. Thurakkatha Vathil, which released on August 15, 1970, won the National Award for the best feature film on national integration. One of K.T. Mohammed’s best-known scripts, this sentimental movie was part of a growing trend in 1970s Malayalam cinema. The hero sacrificing his happiness to fulfil his obligations towards his family. The film was a box office hit, too. Music composed by K. Raghavan (K. Raghunath in the title cards) was excellent.

Directed by P. Bhaskaran the film was shot at Prakash Studios. Cinematography was by Benjamin and editing by K. Narayanan and Neelakantan jointly was commendable.

Popular actors of the time, Prem Nazir, Madhu, Bahadur, Ragini, Jayabharathi and Philomina handled the major roles.

Bappu (Prem Nazir) struggles to bring up his family consisting of his mother Beepathumma (Philomina) and younger sister Nabeesa (Jayabharathi). Bappu is in love with Sulekha (Ragini), daughter of his neighbour Alikkutty Master (Ramankutty). Bappu’s life ambitions are getting his sister Nabeesa married off and then marry Sulekha. To fulfil his dreams, Bappu leaves to Madras to earn money.

Bappu starts a hosiery business in the city, where he meets Vasu (Madhu), who was roaming the streets without food or shelter. Bappu befriends Vasu and gives him refuge in his house. Bappu considers Vasu as his intimate friend Narayanankutty (Bahadur) in the village. He decides to visit his native village during the festival to make arrangements for Nabeesa’s marriage. But fate was cruel. Bappu meets with an accident and gets severely injured. After a few days, he dies. Before his death, Bappu requests Vasu to go to the village and marry off Nabeesa and take care of his mother. Vasu promises his beloved friend to take Bappu’s responsibilities. Vasu reaches the village and fulfils his promise. He makes arrangements for Nabeesa’s marriage. That is when religious fundamentalists raise their eyebrows on a young Hindu man staying in a Muslim house. But Beepathumma and Nabeesa consider Vasu as Bappu. Everybody in the village is made to believe that Bappu will reach the village on the day of Nabeesa’s wedding. Bappu’s absence causes disappointment, but Vasu conducts Nabeesa’s wedding. It is only after the wedding that Vasu reveals the truth about Bappu. Only Sulekha remains, with a broken heart. Vasu and Sulekha dont marry as she cannot not think of a life with anybody else but Bappu. Sulekha closes the doors of her heart forever. The name of the film, Thurakkatha Vathil , is derived from this idea. Thus, the social drama ends on a tragic note.

Philomina excelled in her performance and she won the State Award for the best supporting actress of the year. Ragini, too, impressed the audience by her natural style of acting.

Five songs written by P. Bhaskaran were set to tune by K. Raghavan. ‘ Naalikerathinte Naattilenikkoru ...’ (Yesudas), the song that induces nostalgia, was an instant hit. ‘ Kadakkannin muna kondu …’ (Janaki, Renuka), ‘ Manassinullil mayakkam kollum …’ (Janaki), had the flavour of typical “Mappila songs”. Other hits include ‘ Paarvanenduvin Dehamadakki… ’ (Yesudas) and ‘ Navayuga Prakashame …’ (Yesudas).

Will be remembered: For winning the National Award for the best film on National Integration in 1970 (Second Malayalam film to win this prestigious award under the category, the first being Janmabhoomi – 1967). As a good social movie and for its excellent music. And earning the best supporting actress award for Philomina

Aathmaarppanam (1956)

Prem Nazir, Thikkurissi Sukumaran Nair, Kottarakka Sreedharan Nair, S. P. Pillai, B. S. Saroja etc.

Mythology was the favourite theme of Indian cinema in the 1950s. Fantasy and adventure were the other sure-shot success themes. In the South MGR-starrers like Manthrikumari , Marutha Naattu Ilavarasi (1950), Sarvadhikari ,Marmayogi (1951) and Sivaji Ganesan starrers like Manohara (1954) are perfect examples of such films. In such adventurous tales the story is usually of the hero who fights against the tyrannical regime of kings, ministers, and brings peace and harmony. In most of these films, the hero or the heroine falls in love with the son or daughter of the tyrant ruler.

Amiya Chakravarthy’s block buster Hindi filmBadal (1951) also followed a similar formula. The Malayalam version, Desha Bhaktan (1952) was also a huge hit.

Athmarpanam , released on March 23, 1956, was a blend of sequences borrowed from the Hindi and Tamil mentioned above. Shot at Merryland Studios and produced under the banner of Filmco Productions, the film was directed by G. R. Rao. K. P. Kottarakkara wrote the script and dialogues. The dances choreographed by the renowned dance director Sohanlal and performed by Kusalakumari and Meenakshi from Bombay was highlight of this film. Like it happened to a similar film Kerala Kesari (1951), this film failed at the box office. Some of the songs composed by V. Dakshinamoorthy and brilliant acting by Thikkurissi were perhaps the only saving grace.

Ugravarma (Thikkurissi), the king of Kalpakapuram, declares himself as God. The atheist king forces the innocent people to worship him. The people suffer and pine for freedom. Those who raise their voice against the king are put to the sword. The people’s saviour, a strange person who introduces himself as Vijayan, appears proclaiming that ‘freedom of thought and worship is the birthright of the citizens.’ The king orders the army chief Vikraman (Prem Nazir) to capture Vijayan. But Vijayan escapes. The people assemble under the leadership of Vijayan to revolt against the autocratic rule of the king.

Nalini (B. S. Saroja), the daughter of Prathaparudran (Kottarakkara) who executes the king’s orders in the kingdom, falls in love with Vikraman, though she is against the cruelty of her father and the king. She rallies behind the people who fight against the king’s tyranny. Nalini tries to persuade her lover to withdraw from his attempts to capture Vijayan and to save the lives of the innocent people.

News spreads that Nalini is in love with Vijayan and that they meet secretly. The king issues orders to arrest her. Nalini is arrested by Vikraman. The king orders the execution of Vikraman for not being able to capture Vijayan. Vikraman is saved by Vijayan and Nalini is set free. Vijayan usurps power from Ugravarman and establishes peace and harmony in the kingdom.

Now comes the climax. Vijayan is none other than Nalini in disguise. Vikraman and Nalini get married bringing the film to a happy end.

Out of the eight songs written by Abhayadev and composed by Dakshinamoorthy, some of them became hits. The duet Anandavalli nee thanne alle … (A. M. Raja-P.Leela), which was a copy of the C. Ramachandra composition Gaya andhera huva ujaara … ( Subah Ka Thara -1954) sung by Talat Mohammed and Latha Mangeshkar became a huge hit.

A devotional number Hare muraare … (Raja, Jikki and chorus) was a copy of Hemant Kumar’s Jai Jagadeesh Hare … for the Hindi film Anand Math ( 1952 ). The other hits include Vaadaathe nilkkane … (Leela), Puthu varsham vannallo …(Raja and chorus), and Maanju povan maathramaayen …

Will be remembered : As an adventure film from the early years of Malayalam cinema. For the music, especially for the duet Anadavalli nee thanne alle …

B. VIJAYAKUMAR

Asuravithu (1968)

Prem Nazir, P J Antony, Sankaradi, Govindankutty, Sarada, Kaviyoor Ponnamma, Santha Devi

Some of the short stories and novels written by M. T. Vasudevan Nair (MT) focus on life in feudal Kerala. Murappennu (1965) directed by A. Vincent and P. Bhaskaran’s Iruttinte Atmavu(1967) were two such films. And both did well at the box office.

The political melodrama, Asuravithu , was based on a novel with the same title by MT, which was first published in 1962. The novel was a best seller with several reprints. Though the film was not a huge hit, it is often considered the last of MT’s trilogy – the other two being Murappennu andIruttinte Atmavu .

V. Shantaram’s bilingual film Padosi (Hindi)/Shejari (Marathi) released in 1941 was probably the first Indian film that addressed communal harmony. Hindu-Muslim unity was its theme.

Ramu Kariat’s Moodupadam (1963) was the first Malayalam film that looked at this issue.

In Asuravithu the author focuses on a communally charged situation. It trained the spotlight on the Hindu and Muslim communities in feudal Kerala.

Produced by Madhavankutty under the banner of Manoj Pictures, the film was directed by A. Vincent. The script and dialogues were by the novelist himself. The dialect popular in villages on the banks of the Bharathapuzha River was effectively used in the film. The film was shot at Vauhini and Satya studios, while some of the outdoor scenes were visualised on the banks of Bharathapuzha. Edited by G. Venkitaraman, cinematography was by G.Venkit. The music composed by K. Raghavan made use of the folk tunes in the Malabar region.

Popular artistes like Prem Nazir, P. J. Antony, Sankaradi, N. Govindankutty, Sarada, Kaviyoor Ponnamma, Shanta Devi etc. played important roles in the film. Kalamandalam Kalyanikkutty Amma also played a cameo in the film.

The story is set in Kizhakkummuri, a remote village in Kerala where agriculture is the main source of livelihood. Govindakutty (Prem Nazir), a simple, young man struggles hard to look after his family which include his widowed elder sister Kunjootty (Kaviyoor Ponnamma).

The situation turns bad when his elder brother Kumaran (Govindankutty) mortgages the agricultural land of the family to raise money for his needs. Govindankutty’s friend is Kunjarakkar (P. J. Antony), a Muslim, who is very secular in his thoughts and deeds, is considered a rebel by his community.

Govindankutty’s elder sister Madhavi (Shanta Devi) is married to Shekharan Nair (Sankaradi), a rich landlord in the village. This man is a fanatic and leads a relentless campaign against the Muslims. The poor and innocent villagers from both communities fall prey to such evil machinations and often leading to clashes. Govindankutty and Kunjarakkar try to dissuade people from rioting. Shekharan Nair is unhappy about Govindankutty’s friendship with Kunjarakkar.

A distant relative, Meenakshi (Sarada), who stays in Shekharan Nair’s house, is treated like a servant there. Govindankutty marries Meenakshi, Shekharan Nair takes the initiative for their marriage. On the first night itself, Govindankutty comes to know from Meenakshi that she is pregnant and that Shekharan Nair’s son is responsible.

Govindankutty rushes to Shekharan Nair’s house and beats up Nair’s son. Nair engages his men to take revenge on Govindankutty. To escape from Nair’s men Govindankutty converts to Islam hoping that this community will support him, in particular his friend Kunjarakkar. But Kunjarakkar disowns him.

A group of fanatics attack Govindankutty. To escape their wrath he jumps into the river. The villagers return thinking that Govindankutty is dead. But he escapes and finds refuge in a neighbouring village, he becomes an alcoholic.

Kizhakkummuri is hit by cholera. The dreadful epidemic snatches human lives. The villagers struggle to remove the corpses. Govindankutty (now Abdulla) reaches the village and helps in this horrible work. In the pile of corpses he finds the dead body of his wife Meenakshi. Her child is saved. Govindankutty cremates the body of his wife and leaves the village with the child. His destination is a place where there are no Hindus or Muslims, only human beings!

Prem Nazir and P. J. Antony impressed the audience with their natural style of acting. The film dispensed with the usual comedy scenes.

Six songs written by P. Bhaskaran were set to tune by K. Raghavan. The songs with a definitive folk touch, like ‘Kunnathoru kaavundu…’ (C. O. Anto- P.Leela) and ‘Pakal avaninnu marayumbol…’ (K.Raghavan) became very popular. Other hits include ‘Arimulla valli …’ (P. Jayachandran), ‘Njaanitha thirichethi…’ (Jayachandran- Renuka) etc.

Will be remembered: As a social film that focused on communal harmony and for its good music.

B. VIJAYAKUMAR

Iruttinte Aathmaavu (1967)

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Sarada and Muthiah in a scene from the film Iruttinde Athmavu

M. T. Vasudevan Nair, novelist and scenarist, popularly known as MT, contributed to the renewal of a literary tradition initiated by Thakazhy Sivasankara Pillai, Vaikom Mohammed Basheer and Uroob in the 1950s. In most of his novels and short stories, he addresses the tensions, incarnated by a central character, between traditional family structures in the declining feudal system and economic development. MT ambivalently presented the melodrama of feudal nostalgia and his writings had a major influence on Malayalam cinema of the 1970s.

Murappennu (1965) was the first film based on his literary work. MT himself wrote the script and dialogues for most of the film versions of his novels and short stories.

Iruttinte Atmavu, released on March 2, 1967, was film version of a short story of the same title first published in 1957 in a collection of short stories. The book was a best seller and this particular story was widely appreciated.

Produced by Mohammed Kassim under the banner of Sony Pictures and directed by P. Bhaskaran, the film was a runaway hit and also won the National award for the best film for social integration.

The film had cinematography by E. N. Balakrishnan, it was edited jointly by Venkitaraman and Das and some memorable music by M. S. Baburaj.

The story pivots around Velayudhan (Prem Nazir) a mentally challenged member of an ancient joint family. It was believed that Velayudhan’s insanity symbolised the curse that led to the decline of the family. Velayudhan’s mother Parukutty Amma (Santha Devi) resorted to rituals and local mendicants to treat her son without success. Velayudhan has a good relationship with Ammukutty (Sarada), daughter of his uncle Gopalan Nair (P. J. Antony) and his future bride according to the tradition.

Madhavan Nair (Thikkurissi), another uncle of Velayudhan, who stays in Singapore, comes home with his family. The marriage proposal of Madhavan Nair’s daughter fails when the bridegroom’s family come to know about Velayudhan’s illness. Achuthan Nair (Sankaradi) is appointed to take care of Velayudhan. The joint family depended heavily on Madhavan Nair and hence nobody uttered a word when Velayudhan is locked up in a room and treated cruelly.

After Parukutty Amma’s death Velayudhan’s condition turned from bad to worse. Madhavan Nair’s son Rajan (Muthiah) begins to woo Ammukutty and one day he is beaten up by Velayudhan when he attempts to molest Ammukutty. Following this incident Velayudhan is chained and locked up in an abandoned room in the house.

Rajan keeps harassing Ammukutty and the poor girl is blamed for trying to entice the rich Rajan. Out of shame, Gopalan Nair leaves the house with his daughter. Ammukutty’s marriage is fixed with an old widower. Velayudhan manages to break out of the room and rushes to the marriage venue. On seeing him Ammukutty screams, ‘Mad man’! Velayudhan is crestfallen for he never expected this from his beloved Ammukutty. He returns, acknowledges defeat, agrees to be defined as mad. The film ends with Velayudhan’s painful yell, “Chain me, I’m mad.”

The film is considered as one of the best social movies in Malayalam. The character Velayudhan was a real challenge for Prem Nazir, who was always dubbed the romantic hero. And he came up with an exceptional performance.

The music composed by Baburaj for the four songs written by P. Bhaskaran was melodious. All of them were sung by S. Janaki. Vaakachaarthu kazhinjoru devanthe…and Eeeran uduthu kondu… were instant hits. The other hits include Iru kanneer thullikal… and Ambaadi Kannanu mambazham…

Will be remembered: As a good social movie; as one that won the National Award, for its good music and an exceptional performance of Prem Nazir
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