Kattukurangu (1969)

Sathyan, K. P. Ummer, P. J. Antony,Jose Prakash, Adoor Bhasi, Sarada, Jayabharathi, Meena etc.

A staple theme of Indian cinema down the years has been family conflicts arising out of various real life situations. And in such social melodramas, ‘the other woman’ has been a favourite subject. Malayalam films like Ponkathir (1953), Mariyakkutty (1958), Bharya (1962) etc. are examples and all these films were huge hits. Kaattukurangu , released on February 6, 1969, was a screen adaptation of the popular novel of the same title written by the popular novelist and critic K. Surendran, first published in 1952. Produced by Ravindranathan Nair (General Pictures Ravi), under the banner of General Pictures, the film is considered as one of the best social films in the language. The script and dialogues were by the novelist himself. Directed by P. Bhaskaran, the film was shot at Vasanth” and Vikram studios. Cinematography by E. N. Balakrishnan, editing by K. Sankunny and K. Narayanan and music by G. Devarajan were the highpoints of the film.

Popular stars like Sathyan, K. P. Ummer, P. J. Antony, Adoor Bhasi, Sarada, Jayabharathi, Kaviyoor Ponnamma and Meena played important roles in the film. Jose Prakash impressed in a cameo role and the song picturised on him turned a hit. Music directors B. A. Chidambaranath and M. B. Sreenivasan appeared in guest roles.

Prabhakaran (Sathyan), an editor in a news paper lives happily with his wife Minikkutty (Sarada) and children. Das (Jose Prakash), a popular singer, visits Prabhakaran. The singer, while singing, dies of a heart attack at Prabhakaran’s house. Prabhakaran decides to fulfil Das’s last wish – enrolling his daughter Ambili (Jayabharathi) at the music academy. Prabhakaran brings Ambili and her mother Kamalam (Meena) to his house. Prabhakaran’s adoration towards Ambili’s singing talent transforms into infatuation. Minikkutty is aware of this but keeps quiet so as not to create a conflict in the family.

Ambili successfully completes her studies. Chakrapani (K. P. Ummer) son-in-law of Vasavan (P. J. Antony), co-editor in Prabhakaran’s newspaper is a playwright and actor. His falls for Ambili. He leaves for Madras with Ambili promising to make her a playback singer. His wife Thulasi (Kaviyoor Ponnamma) fails to stop her husband from going. Ambili’s mother Kamalam also accompanies them. Prabhakaran and Minikkutty tried to convince Ambili and Kamalam about the danger of entering the world of cinema. But drawn by the glamour and money they do not listen to their advice.

In Madras, Ambily gets entangled in difficult situations. She seeks the help of Prabhakaran who leaves for Madras. Minikkutty attempts suicide. Prabhakaran returns home with Ambili. Minikutty survives. They are all willing to forget and forgive. Minikkutty realises the commitment of her husband towards the family. The film ends on a very happy and positive note.

Sarada and Sathyan excelled in their roles. The comic interlude involving Adoor Bhasi, who also lends his voice for three songs, impressed.

All the songs written by P. Bhaskaran and set to tune by Devarajan were extremely popular. Naadabrahmathin sagaram neendi varum … (K. J. Yesudas), Ariyunnilla bhavaan …, Marodanachu njaan …, Kaarthika rathriyile …, Vidyarthini njaan … (All P. Susheela) are the all-time favourites. The other hits include Kallu kulangare …, Syamalam gramarangam …, Utthara Mathurapuri … (Adoor Bhasi) and Pankajadala nayaney …(Kamalam).

Nizhalaattam (1970)

The Hindi film Kismet (1943), produced by Bombay Talkies and directed by Gyan Mukherji was the first successful Indian film to cast a popular hero in a ‘negative’ role. The unusual success of this social film prompted producers and directors in the South to adapt screen stories with such ‘negative characters’ in pivotal roles. In Tamil, the Sivaji Ganeshan-starrer films Thirumbippaar (1953) and Andha Naal (1954) are examples. Both these films were huge hits. M.G. Ramachandran was cast in a negative role in the Tamil film Panakkari (1951), the film flopped. N. T. Rama Rao donned the role of Ravana in the Telugu mythological blockbuster Seetharama Kalyanam (1961). In the Telugu films Devatha (1941) and Swargaseema (1945), the superstar of early Telugu cinema, Chittoor V. Nagiah was cast in pivotal negative roles. And in the all-time Tamil hit Manthrikumari (1950) the negative character played by S. A. Natarajan became as popular as that of the hero played by MGR.

The success of such movies prompted Malayalam film producers to join the bandwagon. In Neela Productions’ Jailpully (1957) Prem Nazir was cast in a negative role. Sathyan did a similar role in Bharya (1962) and Adyakiranangal (1964).

Nizhalattam, released on July, 31, 1970, cast Prem Nazir, the eternal romantic hero of Malayalam cinema, as a ruthless villain. The film was a huge hit.

Apart from scripting and writing dialogues for films based on his published literary works, popular novelist and short story writer M. T. Vasudevan Nair wrote scripts and dialogues for stories developed by him specifically for films. Nagarame Nandi (1967) was the first in the series. Nizhalattam was another.

Produced by Hari Pothan for Supriya Films the film was shot at AVM Studios. One of the best directorial ventures of A. Vincent, the cinematography of this black and white classic was by A.Venkit and Surya Prakash. The music composed by G. Devarajan was highlight of the film.

This was the debut film of Sudheer. Nilambur Balan, Jose Prakash, Balan K. Nair, Govindankutty, Parur Bharathan, Devika, etc. acted in guest roles.

Karunakaran (Thikkurissi), a rich businessman has brought up his sons Raveendran (Prem Nazir) and Haridas (Sudheer) under strict control and discipline. His wife (Kaviyoor Ponnamma) always pretended to be seriously ill as a sort of protest against her husband’s relationship with his concubine (Devika). Unable to bear Karunakaran’s inhuman behaviour Haridas leaves home.

Karunakaran expires and Raveendran takes charge of his father’s business and vast assets. Addicted to wine and women Raveendran leads a vagrant life. He marries Santha (Sheela), daughter of a poor school teacher. Raveendran threatens Haridas who returns and manages to keep him under this thumb. Raveendran’s friends assemble in his home for parties and very often his home is virtually converted to a bar. Raveendran even attempts to molest Madhavi (Bhanumathi) the servant of the house. Unable to tolerate the misdeeds of his brother, Haridas leaves home along with his mother. Madhavi gives them shelter in her house.

Raveendran’s business goes bust and he loses all his wealth. He becomes bankrupt and even attempts to ‘sell’ his wife Santha to Chettiar (Nilambur Balan), one of his creditors. In her attempt to save herself from Chettiar, Santha falls down from the terrace of a building and dies. Raveendran is thrown out on the streets. The film points a finger at the evils of an unethical life.

Prem Nazir excelled in his negative role. The film dispensed with hilarious scenes. Kaviyoor Ponnamma and Sheela also impressed.

The songs written by Vayalar Rama Varma and composed by Devarajan became hits. Swargaputhri navarathri… (K. J. Yesudas), Yakshaganam muzhangi…. (P. Susheela), and Devadasi alla njaan… (L. R. Easwari) were the most popular of them. The other hits include Chillaattam parakkumee…. (P. Madhuri), Dhaliya pookkale chumbichu… (Susheela) and Indrajalakkara… (Easwari).

Will be remembered: As the debut film of Sudheer; as an unusual film with Prem Nazir in a negative role and for the excellent music, especially for the song Swargaputhri navarathri….

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