Twist in the Tale

by Annie Philip

[box] After a rather lackluster phase that lasted nearly a decade from the late 90s, Malayalam cinema is now back with a bang, signaling the arrival of new generation cinema. Many interesting themes have been explored and urban Kerala is now a prominent feature in these movies. Annie Philip analyses interesting trends in Malayalam cinema and describes what it has to showcase today.[/box]

“F***k you,” he said. “Not anymore,” she retorted. To say the least, the exchange of words from Malayalam film 22 Female Kottayam stunned me. For years, if I was asked to describe a visual from mainstream Malayalam cinema, I would have probably said green paddy fields, blue sky and a smiling girl in pavada-blouse. That had now changed.

22 Female Kottayam, released in 2012, is among a crop of Malayalam films that have been labelled new generation cinema. These films, over the course of the last couple of years, have made their mark with fresh story lines, unconventional characters and improved production values. At the forefront is a bunch of filmmakers, producers and actors who made the leap of faith from formulaic fare that proved to be the bane of Malayalam cinema.

It is not that novel subjects or filmmaking techniques are new in the land of avant-garde masters like Adoor Gopalakrishnan and John Abraham. The Malayalam film industry has an enviable list of firsts to its credit, including India’s first 3-D film, My Dear Kuttichathan. The late 1980s to early 1990s, referred to as the golden age of Malayalam cinema, shone with its loveable characters and social dramas. Many films bridged the gap between commercial and parallel cinema. It also established superstars Mohanlal and Mammootty.

Somewhere along the way, though, the plot was lost. Much of the late 1990s and early part of this century saw films that looked like poor cousins of Hindi and Tamil commercial grossers. Strong script-based characters gave way to one-dimensional heroes who beat up villains at will, and rich narratives were replaced with wafer-thin story lines. Brilliant comic timing, once a highlight of Malayalam films, had been sadly swapped with farce. Garish costumes and average music added to the viewer’s woes. With the exception of a handful, critics and the audience shunned most films.

Traffic, released in January 2011, is widely acknowledged as the film that ushered in change. It experimented with a non-linear narrative, interconnected sub plots and strong characters that tied up neatly to create an engaging film. It did well at the box office and marked the arrival of new generation cinema. Films that followed explored newer themes and varied narrative techniques. Salt N’ Pepper, for instance, is a refreshing take on mature romance. The middle-aged lead characters share their love for the culinary arts through phone conversations. It is not till much later that they meet each other in person. And almost in perfect contrast, the film presents two younger characters in what can be said as being in the throes of puppy love.

These films have also provided the platform for a variety of actors to perform. Shweta Menon, a former Miss India runner-up, struggled in Bollywood before finding her calling with a bouquet of meaningful roles like Maya in Salt N’ Pepper and Zarina in Thalsamayam Oru Penkutty. Actor Anoop Menon has emerged nothing short of a poster boy for new generation cinema. From playing a cop in Traffic to a musician in Beautiful, he is also the man behind scripts for movies like Cocktail, Beautiful and the rather bold Trivandrum Lodge. Many of these characters are not painted just black or white. They are shown with their vulnerabilities and shades of grey. The protagonist of Ustad Hotel is honest when he voices his fear that his grandfather may use emotional blackmail to make him stay back, while he wishes to pursue a career abroad. Some youngsters who have benefitted from this wave include actors Fahadh Faasil, Vineeth Sreenivasan (actor and director), Dulquer Salmaan, Asif Ali, Rima Kallingal, Remya Nabeeshan, Mythili and Nithya Menen. Seasoned actors Biju Menon Kunchako Boban and siblings Prithviraj and Indrajith Sukumaran have also taken on different roles in this period. As far as direction and screenplay are concerned, there have been some new voices like Aashiq Abu, Rajesh Pillai, Anjali Menon, Sameer Thahir, Murali Gopy and Arun Kumar, while veterans like Ranjith and Lal Jose too have found success in their last few ventures.

While each of these films has dealt with different subjects, a common factor has been the urban theme, which has so far been largely unexplored. Drive around Kerala and you will realise the dividing line between rural and urban is not so well-defined. But the landscape of Kerala’s cities and towns has been transforming and these films have attempted to capture the changing dynamics. Ee Aaduthu Kalathe shows how the worlds of characters from different strata of society collide in the city of Trivandrum. It lays bare the frustrations and trials of a doctor, police commissioner and journalist with as much ease as it does of a migrant worker and rag-picker. Chaappa Kurish, set in Cochin, pits a successful rich brat working in real estate against a nervous, bumbling, insecure guy working in a supermarket. The director in an interview has said the characters are two sides of a coin. (The title translates as heads or tails). A misplaced mobile phone turns the tables and the film explores the frailties of human nature in an urban environment. Thalsamayam Oru Penkutty shows the growing obsession with reality television and its influence on the audience and those behind it.

The urban theme can be seen through the use of location, costumes, music and the characterisation of women. While Trivandrum, Cochin and Calicut have featured prominently in these films, they have also looked at the life of the Malayali outside his home state. The well-crafted T. D. Dasan Std. VI B (2010), released before the wave of new generation cinema, features a father and daughter staying in Bangalore. While the film raises questions on several levels, it portrays an accurate picture of the Malayali who has blended in with the urban crowd of India. The lead protagonists of 22 Female Kottayam are professionals in Bangalore, while Diamond Necklace exposes the trappings of a fast-paced lifestyle in Dubai. Cinematography has made considerable progress, resulting in films that look slick, considering they do not have much scope to showcase the beauty of rural Kerala. Salt N’ Pepper and Ustad Hotel did commendable work to make food an integral character, making them a real treat for foodies.

The Malayali hero has always been most comfortable flicking his mundu or lungi. During the late 90s he experimented with some rather disastrous-looking Western apparel. In a welcome change, professional costume designers and stylists have entered the scene, making sure actors appear in clothes that fit well, look contemporary and suit the character, whether these are Western or ethnic clothes. The leading ladies now look smart and stylish, a far cry from the mismatched clothes a decade back. In fact, going by his last few movies, it would be safe to say that Fahadh Faasil has appropriated the boxer shorts!

Music has also seen a sea change. Cochin-based rock band Motherjane recorded a single for Anwar as early as 2010, while popular alternative Malayalam rock band Avial has worked on songs that have featured in Salt N’ Pepper and Second Show. Avial’s lead guitarist Rex Vijayan has also composed the music for 22 Female Kottayam and Chaappa Kurish. Ustad Hotel features a fictional band called Kallumakai and one of its songs ‘Appangal embadum’ was among the most popular in 2012. Melodies have made a strong comeback too.

The portrayal of women characters has seen some positive changes, becoming more authentic. The female protagonist in Salt N’ Pepper shares her woe with her friends over a drink and this is not shown as something unusual. The women are seen as confident, independent and unafraid of making mistakes. Films have not been shy of showing their negative traits either, like the female lead in Beautiful. Thalsamayam Oru Penkutty features a female TV producer who is just as ambitious and career-oriented as her male colleagues. In 22 Female Kottayam, the female protagonist uses her sexuality to take revenge. All of this is a step forward from movies like Njangal Santhushtaranu (1999) which shows a modern woman as one who needs to be tamed by the hero. 

Not all the so-called new generation films have found success at the box office or have found favour with the audience and critics. City of God, released in early 2011, could not capitalise on the trend despite an interesting narrative structure, believable characters and its highlight of a pertinent issue like the condition of migrant labourers. Some of the disapproval seems to be directed at calling films ‘new generation’ on the basis that there isn’t anything essentially ‘new’ about them. Others have criticised the liberal use of profanity and the introduction of the ‘item number’ to Malayalam films. The more damaging of the accusations has been plagiarism with viewers pointing out similarities with films in other languages. Some have called these films nothing more than a passing fad.

Putting aside the cynicism though, many of these films have a made a genuine attempt at capturing modern day realities. The emphasis on plausible narrative and characterisation aided by some fantastic actors is also a welcome change. If anything, the success of many of these films indicates a growing appetite for something ‘different’ and that is good news!

Annie Philip is an independent journalist based in Mumbai. Having just moved there after stints in different places, she is trying hard to make sense of the metropolis. Her day starts with a cup of tea and she loves cheese.

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