Nakhangal (1973)

Socio-political story: A scene from the film


Nakhangal released on September 8, 1973, was an unusual film that told the story of an owner of a tea estate who believes in the ideals of a political party that fights for the rights of the workers, because she was a labourer-turned-estate owner.

Produced by Hari Pothen under the banner of “Supriya Films” and based on the novel of same title written by Vaikom Chandrasekharan Nair, the colour film was shot at Satya and Prasad Studios. The outdoor location of the film was tea estates in Kerala. The story pivots around two murder cases.

The success of the film is attributed to the scriptwriter Thoppil Bhasi and director A.Vincent. Some critics feel that the film was not as impressive as the novel.

Saraswathi (K. R. Vijaya), an inmate of an orphanage who believes in the ideals of a political party that fights for the rights of the working class is married to Mathew, an estate owner. The story of the film starts five days after the brutal murder of Mathew. A young graduate, Sankarankutty (Madhu) is appointed by Saraswathi Mathew as the Manager of the estate following the death of her husband. The past life of the important characters is narrated by powerful dialogues, rather than in usual visual “flashbacks” . A young leader of the estate workers, Yesudas (Raghavan), an estate worker Muthappan (C. A. Balan) and Saraswathi Mathew are the prime suspects in the case. Later, Muthappan is also murdered. Police frame false charges against Saraswathi Mathew . The local police was twisting the murder case in favour of real culprits, the estate owners Ramunni Menon (Veeran), John Sebastian ( Paravoor Bharathan ) and their group who murdered Mathew by mixing poison in the coffee served to him through Mathew’s servant Pankiyamma (T. R. Omana). They murdered Muthappan also who witnessed Mathew’s murder. Sankarankutty succeeds in unfolding the mysteries behind the murder of Mathew and Muthappan and saves Saraswathi Mathew from the false charges.

Sankarankutty’s lover Gomathi (Jayabharathi) and Yesudas are children of the party worker Achuthan Nair (Sankaradi) who were brought up in their childhood by Saraswathi when they were admitted to the orphanage following the death of their mother. Later Gomathi was brought up by a party worker Pappunni (S. P. Pillai). Ramunni Menon and his group is arrested by the crime branch. The film ends with a message – the real owners of the estates are the “workers” who built up the estates with their hard work. Saraswathi Mathew hands over the estate to the Union of the workers and leaves to the orphanage from where she came. But the local bureaucratic estate owners who were against his” pro workers policy” murdered him.

K. R. Vijay's was an impressive performance. The film dispensed with usual hilarious comedy scenes. The guest roles of Kaviyoor Ponnamma as Mathew’s concubine Kakkachi, Meena as Mathew’s sister Annamma , KPAC Lalitha as the illicit liquor vendor Maya, K.P. Ummer as Saraswathi Mathew’s brother etc were memorable.

All the songs written by Vayalar Rama Varma and set to tune by Devarajan became hits. Instant hits were “Krishnapakshakkili chilachu….” (Yesudas, humming by Madhuri), “Gandharva Nagarangal….” (Madhuri) , and “Pushpamangalayam….” ( Yesudas) . Other hits include “ Nakshathrangale Sakshi….” (Yesudas, chorus) and “Maathaavey Maathaavey….” (Suseela) .

Why remembered:

As a good social film with a moral

Kaattuthulasi (1965)

Udaya Studios, established by producer-director Kunchacko, introduced several heroines from other South Indian languages to Malayalam cinema. He even changed their names, Rajashree became Gracy in Bharya (1962), Sharada became Rahel in Inapravukal (1965), and Rushyendramani of early Telugu cinema was introduced as Sree Ramani in Palaattu Koman(1962). In 1965, Kunchacko introduced A.B. Shanthi ( Vennira Adai Nirmala in Tamil) as Ushakumari in Kaattu Thulasi , which was released on July 9, 1965. Following the success of the film Ushakumari became a busy star in Malayalam.

Directed by M. Krishnan Nair, and shot at Udaya Studios, the film had dialogues by Thoppil Bhasi for a story developed by the Udaya team. Ghost stories were a trend in 1960s. Hindi films likeBees Saal Baad (1962), Woh Kaun Thi , Kohra(1964) were all films of this genre and did well in Kerala. The success of these ‘musical hits’ must have prompted Kunchacko to produce a Malayalam film of this kind.

Popular artistes like Sathyan, Kottarakkara Sreedharan Nair and Adoor Bhasi starred in the film besides the two new faces Sharada (Rahel in title cards) and Ushakumari. Sharada was introduced to Malayalam cinema through Inapravukal released in April the same year. Music by M.S. Baburaj was the highpoint of the film.

The story revolves around a tea estate in the mountain slopes of Kerala. Shekhara Pillai (Kottarakkara Sreedharan Nair) is a planter. His son Chandran (Sathyan), who returns to the tea estates after his higher studies, falls in love with an estate labourer Thulasi (Ushakumari). Shekhara Pillai is against this as he wants his son to marry an educated girl from a rich family. But Chandran is firm and makes it clear that he will marry only Thulasi. A myna gifted to Chandran by Thulasi is first killed by Shekhara Pillai as an indication of his protest against his son’s love affair.

Chandran leaves the estate on a business tour. Taking the advantage of the situation, Shekhara Pillai engages his goons to kill Thulasi. The helpless girl is pushed off a mountain top. News spreads about Thulasi’s ‘accidental death’. But Thulasi was lucky.

She falls on to a haystack and escapes without injuries. The tribals who find her, takes her to their colony.

Chandran returns and hears the shocking news. He loses his mental balance. Shekhara Pillai conducts the marriage of Chandran with Lalitha (Sharada).

Lalitha nurses Chandran as advised by the doctors. Every night Thulasi, accompanied by her pet dog, comes to the estate to see Chandran. People believe that this is Thulasi’s ghost.

Lalitha is determined to unfold the mystery behind all this.

She succeeds and comes to know of the circumstances that led to Thulasi’s ‘disappearance.’ Lalitha brings Thulasi to Pillai’s estate bungalow. Chandran is stunned see his beloved alive.

Chandran dies of a heart attack. Thulasi, who believed that she was the cause of Chandran’s death, commits suicide by jumping down from the mountain top. Lalitha’s attempt to save her fails.

All the songs written by Vayalar Rama Varma and tuned by Baburaj became hits. Songs likeSooryakaanthi sooryakaanthi …(S. Janaki), Gangayaar ozhukunna naattil … (P. Susheela), Thulasi Thulasi vili kelkoo …(P.B. Sreenivas), Velli chilanka aninjum kondoru … (K.J. Yesudas-Jikki), andMaina maina manjadikkili …(Yesudas- Jikki) are still remembered.

Will be remembered: As the debut Malayalam film of Ushakumari and for the excellent music, especially the classic S. Janaki song Sooryakaanthi, sooryakaanthi …

Films and the Ramayana

A still from 'Kanchana Seetha'

A still from 'Sree Rama Pattabhishekam'

B. Vijayakumar is a film historian and columnist


The month of Karkidakam (mid July to mid August) is also called the Ramayanamonth. Reading the Ramayana, especially during this month, is a timeless tradition handed down by generations. Let’s take a look at some of the films based on the epic or adaptations of the stories from the Ramayana.

This ‘tradition’ in Indian cinema began from the Silent Era. Films like Dada Saheb Phalke’s Lanka Dahan (1917) and G.V. Sane’s Ram Janma (1920) were some of the earliest. Vijay Bhatt’s Hindi/Marathi bilingual Bharat Milap (1942) and its sequel Ram Rajya (1943) are regarded as the most successful screen adaptations of the Ramayana. Ram Rajya has the unique distinction of being the only film to have been watched by Mahathma Gandhi in his life.

Two successful Malayalam films of the early period are Kunchacko’s Seetha (1960) with Prem Nazir and Kusalakumari in the lead and P. Subramaniam’s Sree Rama Pattabhishekam (1962) with Prem Nazir and Vasantha as Rama and Seetha. Both these films were direct copies of Ram Rajya and Bharat Milaprespectively.

Most of the Tamil and Malayalam films of this genre were dubbed versions of Telugu films. For example, Seetha Swayamvaram (1976) was the Malayalam dubbed version of Bapu’s super hit Telugu mythological Seetha Kalyanam (1976).

Kanchana Seetha, (1977) directed by G. Aravindan, was an adaptation of C.N. Sreekantan Nair’s play published in 1961 and successfully staged the same year. Produced by K. Ravindran Nair under the banner of General Pictures, the film won the National Award for the Best Director. Aravindan wrote the script and dialogues; the film had excellent camerawork by Shaji N. Karun and amazing art by Artist Namboodiri. The colour film was shot at outdoor locations in the forest areas on the banks of the Godavari, Andhra Pradesh. The film told on screen the story of Uttara Ramayana. Seetha symbolises Nature. The character never appears in the film but her presence is compellingly evoked in the moods of the forest and the elements such as the rustling of the wind in the trees or as the rain bringing harmony where discord threatens. The roles of the epic heroes were played by tribal people belonging to the Rama Chenchu sect, who claim lineage to the mythological Rama. The film was not a commercial success. Aravindan’s film had very few dialogues. The film significantly differed from all other adaptations of Ramayana in the characterisation of the central characters like Rama, Lakshmana, Bharatha etc. The characters were humanised, contrary to the way in which mythological characters were usually depicted on the screen with magical powers.

In several other Malayalam films emotional moments from the Ramayana were co-related with melodramatic scenes through songs. The popular number Sree Ramachnadrante arukil…(K.J. Yesudas) from Oonjaal (1977) relates the scene with Rama’s wedding procession that is stopped by Sage Parasurama. Mattoru Seethaye kaattilekkayakkunnu…. (Kamukara Purushothaman-Tharavattamma:1966 ) connects Seetha’s abandonment to the sequence in the film. Other popular songs in this list are Raman, Sree Raman …( P. Jayachandran-Ayodhya: 1975), Ashoka vanathile Seethamma…( Kamukara Purushothaman-Kallichellamma: 1969); Ramayanathile dukham…(N.V. Haridas-Kayalum Kayarum:1979) etc.

Though titles of some Malayalam films are taken from the Ramayana, the storyline are in no way related to the epic. For example, Ashwamedham (1967), Lanka Dahanam (1971), Puthrakameshti(1972), Panchavati (1973), Sethu Bandhanam (1974), Maa Nishada, Aranyakaandam, Ayodhya, (all 1975), Ahalyamoksham (1976), Yudha Kaandam (1977) etc.

There are also a few songs in Malayalam that sing praise of Rama. Some of the popular ones areRaghukula nayakane Sree Rama…(Malathi ) and Bhaktha parayana….(M. K. Kamalam) both fromBalan (1938), and Thriprayarappa Sree Rama….(Vani Jayaram: Ormakal Marikkumo,1977).

Nellu (1974)

Prem Nazir, Mohan, Prem Nawaz, Kottarakkara Sreedharan Nair, Adoor Bhasi, Bahadur, Jayabharathi, Kanakadurga, Kaviyoor Ponamma, Kaviyoor Ponnamma etc.

Aana Valarthiya Vanampadi (1959), Kaattu Maina (1963), Kaattu Mallika(1966) etc. were some of the Malayalam films that had the jungle as its backdrop. The colour film Nellu, released on August 23, 1974, was the first Malayalam film that portrayed life of the adivasis of the State. The story was centred on Thirunelli village, in Wayanad, and the surrounding jungles.

Nellu was based on an award-winning novel of the same title by P. Valsala which was first published in 1972 and was a bestseller. The novel deals with the customs, manners, beliefs, taboo s and prejudices of the Adiyar tribal community in Wayanad and created a sensation when it was published. Produced by N.P. Ali under the banner of Jammu Films International, the film was shot almost entirely in Thirunelli and the villages around.

The excellent cinematography by Balu Mahendra, who was making his film debut, made Nellu a beautiful, outdoor visual treat. Directed by Ramu Kariat, the script was written jointly by Kariat and K.G. George. The dialogues were by S.L. Puram Sadanandan. Another highpoint of the film was the music by Salil Chaudhary. Latha Mangeshkar made her Malayalam film debut with a song that turned super-hit. Hrishikesh Mukherji and Appa were the editors.

Prem Nazir, Mohan, Prem Nawaz, Adoor Bhasi, Bahadur, Thikkurissi, Kottarakkara Sreedharan Nair, Jayabharathi, Kanakadurga, Kaviyoor Ponamma, Adoor Bhavani etc were cast in important roles. An array of popular actors like S.P. Pillai, K.P. Ummer, Innocent, Rani Chandra and Sumithra appeared in guest roles.

On his pilgrimage to Thirunelli temple and to immerse the ashes of his mother in the sacred river Papanashini that flows beside the temple, Raghavan Nair (Prem Nazir) befriends the family of Savithri Warasyar (Kaviyoor Ponnamma), a widow. He stays with the family at her request.

Nair comes across the life of the tribals. Their struggle against Nature, superstitions, the servility and exploitation they put up with, all of this become notes in his diary. The story is narrated through Nair’s observations.

Kurumatti (Kanakadurga), is a tattooist of the tribal community and is married to Chathan (JAR Anand). She tries to seduce Mallan (Mohan), a handsome tribal youth. Chundeli (Kottarakkara Sreedharan Nair) who was away from Thirunelli for a long time returns to the village with his wife Pembi (Adoor Bhavani) and daughter Mara (Jayabharathi). Mallan and Mara fall in love with each other. Chundeli and Pembi agree to their marriage.

Kurumatti is upset by this. She spreads rumours that Mara and Mallan belong to same gothra or clan and so, according to the tribal traditions, cannot marry.

The tribal chief (Thikkurissi) imposes a ban on their marriage. Mara runs away with Mallan. The tribal community turns against them and the chief imposes a penalty for their breaking the traditions. Mallan leaves Thirunelli in order to earn money to pay the penalty. Mara stays in a storeroom at Savithri’s house.

Savithri’s younger brother Unnikrishnan (Prem Nawaz) is drawn towards the charming Mara. On a rainy day he rapes Mara and leaves the village. Mallan is afflicted by malaria but reaches the village with the money. He dies of the disease. The tribal chief sentences Mara to be lapidated and driven away from the tribal colony. Raghavan Nair intervenes and promises to keep Mara away from the colony. He requests Savithri help Mara and she accepts the tribal woman as her daughter. The film ends with Raghavan Nair leaving Thirunelli.

Kanakadurga excelled in her very complex role. Adoor Bhasi as the Postman, Ummer as a hunter also impressed. The comic scenes involving them and S.P. Pillai did not distract from the main plot.

Hrishikesh Mukherji won the Kerala State award for the best editor for this film.

The songs written by Vayalar Rama Varma and set to music by Salil Chaudhary turned super hits.Kadali kankadhali… (Latha Mangeshkar), Neelaponmaane … (K.J. Yesudas- P. Madhuri), Kaadu kuliranu… (P. Susheela) and Chembaa chembaa…(Manna Dey, P. Jayachandran & chorus) are still popular.

Will be remembered: As Balu Mahendra’s debut film, for Lata Mangeshkar’s first Malayalam song and for the music.

Hridayam Oru Kshethram (1976)

Madhu and Sreevidya from a scene in the film Hrudayam Oru Kshethram


Madhu, Raghavan, Kedamangalam Sadanandan, Bahadur, Sreevidya, Baby Sumathi, Aranmula Ponnamma, KPAC Lalitha etc

Remakes of successful films from other languages were a trend in Malayalam cinema from its early days. But most such remakes were not as successful as the originals. Nenjil Oru Alayam (Tamil, 1962) written, produced and directed by V. Sreedhar, was a trendsetter. It was produced in less than a month and without the superstars of that time. Remade in other languages, Dil Ek Mandir (Hindi, 1963), Manase Mandiram (Telugu, 1966), Kunkuma Rakshe (Kannada, 1976), these versions were successful. The simple ‘love triangle’ story impressed audiences.

Hrudayam Oru Kshethram, the Malayalam remake of the successful story was released on December 24, 1976 remains an unusual success among the remakes. Produced and directed by P. Subramaniam under the banner of Neela Productions, and shot at Merryland Studios, this colour film was a musical hit. It had excellent music by G. Devarajan.

Madhu, Raghavan, Bahadur, Sreevidya, Aranmula Ponnamma were some of the popular stars in the film. Baby Sumathi became very popular after this film.

Doctor Ramesh (Madhu) and Prema (Sreevidya) are lovers. Ramesh goes abroad for higher studies. In his absence Prema is forced by her family to marry Harindran (Raghavan). On his return Ramesh is devastated when he hears this news. He decides never to marry and to devote the rest of his life in research and treating patients.

Years roll by. One of his patients is critically ill and has to be operated upon. The treatment progresses well. The patient is Harindran and Prema gets upset when she comes to know that the doctor treating her husband is her former lover. She is worried that Ramesh may take revenge on her by not treating her husband well.

Meanwhile, Harindran comes to know about the relationship between Ramesh and Prema. Without revealing that he knows their past, Harindran requests Ramesh to marry Prema in case his operation fails and he dies. The reason he gives is that he does not want his wife to be remain a widow. Prema, who loves her husband more than her life, tells Ramesh that she will end her life if her husband dies. And Ramesh promises her that he will save her husband even at the cost of his life.

Taking it as a challenge, Ramesh works day and night, consulting other doctors, to prepare well before he conducts the surgery. The surgery is successful and Harindran is cured. Ramesh gets excited at the result. All the hard work and pressure takes its toll on Ramesh’s health. He dies of a heart attack.

The emotionally charged story, tautly narrated on screen with pleasing music and impressive dialogues, ends with the inauguration of a hospital constructed in the name of Doctor Ramesh who devoted his life for cancer patients.

Sreevidya and Madhu excelled in the lead roles. Baby Sumathi, as a cancer patient who succumbs to the disease, also impressed.

The songs written by Sreekumaran Thampi and set to music by Devarajan stood out. Some of them likeMangalam nerunnu njaan…, Oru devan vaazhum….(both by K.J. Yesudas), Manassil theenaalam …. (P. Madhuri) became very popular. The other hits include Punchiriyo poovilveena….and Enthinenne vilichu …. (Madhuri)

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

Kochumon (1965)

Early Indian cinema focussed more on mythological, historical and fantasy-based themes rather than social stories. In the South, however, Malayalam cinema was exception and gave more importance to social stories, the first talkie Balan(1938) had such a plot. But with a few exceptions, these “socials” of the first three decades of Malayalam cinema were based on stories with unusual twists and turns and were stranger than fiction. Films like Yachakan (1951), Manasakshi(1954), Jailppulli (1957) etc are few examples to quote.

Kochumon released on October 8, 1965 followed this trend of ‘strange’ social stories far from reality.

Produced by Mammen George under the banner of St. George Movies, the film was shot at Newton Studios. Poovai Krishnan wrote the script for the story developed by Devadutt and the film’s director K. Padmanabhan Nair wrote the dialogues. Edited by V.P.Varghese, cinematography was by B.G. Jagirdar. Music composer Alleppey Usman, and lyricist P. J. K. Eezhakadavu were introduced through this film.

Popular actors of the time like Prem Nazir, Thikkurissi Sukumaran Nair, Muthiah, Adoor Bhasi, Sheela, T. R. Omana and Adoor Pankajam among others acted in the film.

The producer, Mammen George, acted in an important role. New faces introduced through this film were K.P. Kurien and Nalini.

Annamma (T. R. Omana ) is in love with Chackochan (Thikkurissi), the rich landlord, and gets pregnant by him. He refuses to marry her and disowns her. Annamma gives birth to a baby boy and loses her sanity. She runs away from the village. Annamma’s father Mathappan (Muthiah) pleads to Chackochan to accept the child but he refuses. The child christened as George (Prem Nazir) is brought up and educated by Mathappan.

George gets a job as teacher at the village primary school. George falls in love with Lilly (Sheela), daughter of the wealthy Pappachan (Mammen George). Chackochan’s son Johny (K. P. Kurien) is a wastrel and Lilly rejects his proposal of marriage. George’s cousin Rosy (Nalini) is in love with Johny and all her attempts to reform him go in vain.

Annamma who regains her sanity returns to the village after 20 years and reaches Chackochan’s house looking for her son. A furious Chackochan mercilessly drives her away.

George was, so far, unaware of the secret of his birth. Mathappan, now, tells him the truth. Along with her son, Annamma goes to Chackochan’s house. Chackochan attempts to shoot Annamma, but she escapes. Johny is furious over the fact that it was George who came in between him and Lilly.

He shoots George, but Annamma who comes in between them gets hit and dies. Chackochan repents his actions and dies of a heart attack while attending Annamma’s funeral.

And as a happy ending to the ‘strange’ social drama, George and Lilly get married.

Prem Nazir and Sheela impressed the audience as the film’s romantic lead. The comedy by Adoor Bhasi, Adoor Pankajam and others were copies from earlier films.

Alleppey Usman composed music for the four songs written by P. Bhaskaran and four by the debutant lyricist P. J. K. Eezhakadavu. Instant hits were ‘Odi varum kaattil….’ ( Suseela, Yesudas /P.J.K Eezhakadavu ), ‘Maanathe Yamuna than…’ (Yesudas, Suseela / P. Bhaskaran) and ‘Maalaakhamaare marayalley…’ (S Janaki, chorus/ P. J. K. Eezhakadavu ).

Other hits include ‘Amma Amma uttavalo nee…’ (P.B. Sreenivas), ‘Pachila thoppile thathamma…’ (L.R.Easwari, chorus), etc.

Will be remembered: The debut film of music director Alleppey Usman and lyricist P.J.K. Eezhakadavu and for some of the hit songs.

Achani (1973)

Prem Nazir, Vincent, Sudheer, Kottarakkara Sreedharan Nair, Bahadur, Adoor Bhasi, Nanditha Bose, Sujatha, Sreelatha etc.

Certain Studios and cinema theatres in India are co related with Indian films. With the substantial profits obtained from the Tamil film Chinthamani (1937), the producers built a Cinema theatre in Madurai and named it Chinthamani. The Tamil film Karpakam (1961), enabled its producer and director K S Gopalakrishnan to establish ‘Karpakam Studios’. K Ravindran Nair, fondly called ‘Achani Ravi’ donated the proceeds of the successful Malayalam film Achaani, released on July 12, 1973 to build the Public Library at Kollam.

Produced under the banner of General Pictures and directed by A. Vincent, the film was shot at Satya Studios. Based on a story by Karaikudi Narayanan, renowned playwright Thoppil Bhasi wrote script and dialogues for the film. Editing by Venkitaraman and cinematography by Venkit and Prakash was impressive. Music composed by Devarajan was a high point of the film.

Popular artists like Prem Nazir, Vincent, Sudheer, Kottarakkara Sreedharan Nair, Adoor Bhasi, Nanditha Bose, Sujatha etc acted in the film.

Vasu (Prem Nazir) who runs a tailoring shop is the head of the family consisting of his wife Seetha (Nanditha Bose), brother Gopi (Vincent) and sister Uma (Sujatha). Gopi is employed at a workshop and Uma is a school teacher. Vasu is respected by all for his noble character. The happy family lives within their means.

Uma falls in love with Babu (Sudheer), son of the rich Raghavan Mudhalali (Kottarakkara Sreedharan Nair), a factory owner. Vasu objects to the marriage of his sister with Babu, but Uma is determined and she leaves home and gets married to Babu. Gopi loses his job. Bad luck follows Vasu’s family. Vasu’s tailoring shop is destroyed in a fire accident. Seetha becomes pregnant. Vasu struggles for livelihood, but refuses financial support offered by friends and relatives.

Banker Menon (Sankaradi) appoints Seetha to take care of his son Raju (Master Satyajith). In a furious mood, Raju threw a metal pot at their servant, which hit his mother and killed her on the spot, causing Raju to lose his mental balance. Seetha’s love and care brings changes in Raju. One day, upon seeing Seetha wiping off the dust from a framed photo of his mother, Raju got angry and threw a heavy flower vase at her. Seetha is admitted to the hospital and an abortion takes place. The mental shock that Raju suffers out of this incident brings Raju to normalcy.

Menon offers a huge amount to Vasu out of gratitude. But Vasu refuses the support.

Gopi becomes sick. Vasu even ‘sells’ his blood to raise money to treat Gopi. But fate is cruel, Gopi dies due to lack of proper medical care. Raghavan Mudhalali and Babu fail to repay the loan availed from Menon and are at the verge of confiscation. Babu and Mudhalali plead for extension of time for repayment of the loan. Menon insists that he will allow an extension if Vasu stands as surety. Menon and Babu fall at the feet of Vasu and beg for his support. Menon withdraws all legal proceedings against Babu and his father. Menon requests Vasu to take control of Mudhalali’s factory and he agrees. And a happy ending to the social drama.

Nanditha Bose and Prem Nazir impressed the audience in their lead roles. Hilarious scenes involving Bahadur, Adoor Bhasi ansd Sreelatha gave moments of laughter . Yesudas appeared in a guest role and sang a song.

Songs written by P. Bhaskaran became hits. Instant hits were “Enthe Swapnathin…. “ (Yesudas – acting and singing), “Mallikaa Baanan Thanthe…. “ (Jayachandran, Madhuri), “Samayamam Nadi…. “ (Suseela).

Will be remembered: As a good social film and for its excellent music.