Written by Siddhartha Krishnan | 7 Min Read

The love and appreciation showered upon Malayalam films worldwide is unprecedented. It’s mind-boggling to see cinephiles in distant lands dissecting and reviewing our cinema with fervor. But as an ardent fan and a Malayalee who grew up in the 90s watching the golden age of our films unfold, I am worried. Let me tell you why.

Malayalam cinema hasn’t always been like this. Before the 80s, mainstream Malayalam films often bordered on being obscene, focusing more on titillation than substance. In the late 90s and early 2000s, our industry tried to mimic its Southern counterparts, churning out cheap imitations that disappointed audiences. This was a dark period marked by aging superstars and seasoned filmmakers losing their touch.

The renaissance was ushered in by a new wave of filmmakers and actors influenced by world cinema close to 2010. This evolution continues today. Thanks to OTT platforms, the world has discovered our films. This year, Malayalam cinema has shattered glass ceilings, achieving global box office success and critical acclaim. It feels like our time has finally come.

Yet, this success makes me anxious. As someone raised on the classics of the 80s and 90s, I hope we don’t lose the essence that made our cinema special.

So what makes Malayalam cinema different?

Malayalam cinema stands out due to its authenticity, grounded storytelling, and commitment to addressing relevant social issues. Unlike formulaic approaches, it remains deeply rooted in its cultural context. This success is driven by exceptional writers, talented technicians, visionary directors, and naturally gifted actors who bring these stories to life with aplomb.

This authenticity and cultural resonance are evident in both the films of the 80s and 90s and those of today. The golden era, however, distinguished itself with a few unique traits.

Directors, constrained by tight budgets, often shot in real village locations. This choice not only saved costs but also forged a deeper connection between the audience and the characters. While parallel cinema in Kerala addressed serious issues, much like in other states, Malayalam commercial cinema integrated these themes with a satirical edge. This blend gave rise to some of the finest comedy films, introducing us to beloved characters and situational humor. It was integral to the narrative, and not just there to provide relief between serious scenes.

The presence of naturally gifted actors made the storytelling compelling, while dialogues, often improvised, mirrored the everyday speech of the common man, enhancing the films’ realism and relatability. The screenplay was free-flowing, natural, and not sanctimonious, despite taking on social issues. If Malgudi days and Wagle ki Duniya were to have a child it would look like Malayalam cinema, but with its unique characteristics.

Here are five classics that perfectly balance realism, humor, and social commentary:

Vadakkunokkiyantram (1989) –

This black comedy explores the life of an insecure man plagued by doubts about his more attractive wife. Tormented by his average looks, he becomes suspicious of any man who interacts with her. Starring Sreenivasan and Parvathy, and written and directed by Sreenivasan himself, this film is a quintessential classic in the genre. (available on Amazon Prime)

Varavelpu (1989) –

Directed by Sathyan Anthikad and written by Sreenivasan, this film follows Murali, a simpleton who returns from the Gulf after seven arduous years. Hoping to start a bus service in his hometown with his savings, he faces opposition from relatives eyeing his money and discovers that doing business locally is fraught with challenges. Featuring an outstanding performance by Mohanlal and a superb ensemble cast, this film initially struggled at the box office but has since achieved cult status. (available on Amazon Prime)

Nadodikkattu (1987) –

After being fired from their jobs, Dasan and Vijayan decide to pursue their dreams in Dubai. They are put on a boat by a man who assures them that by morning they will be on the shores of Dubai. However, he turns out to be a trickster and they land in Chennai instead, leading to a series of comedic misadventures. Directed by Sathyan Anthikad, this satire transformed Dasan (Mohanlal) and Vijayan (Sreenivasan) into two of the most beloved characters in Malayalam cinema. (available on YouTube)

Mithunam (1993) –

Sethu dreams of starting a biscuit factory but is thwarted at every turn by corrupt bureaucracy. His troubles don’t end there; he must also navigate the chaos of his dysfunctional family and a complaining wife who feels neglected. Directed by Priyadarshan, the film weaves together a series of comedic events, highlighting the struggles in both Sethu’s personal and professional life. (available on Disney+Hotstar)

Sandesam (1991) –

This political satire follows a retired engine driver who returns home hoping for a peaceful life with his family. However, he discovers that his two eldest sons, both lawyers, have abandoned their professions to become party workers for rival political factions. The brothers, unable to see eye to eye, are constantly scheming against each other. While the film is a laugh riot for most of its runtime, it turns grim towards the end, delivering a poignant message about political polarization and its potential to destroy a family. Directed by Sathyan Anthikad, this film is my favorite on the list. (available on Disney+Hotstar for free)

The aim of the above list is not to boast about filmography or create a ‘favorite’ films list, but to highlight a key point: Malayalam filmmakers have masterfully addressed a variety of socially relevant topics, seamlessly blending humor into their storytelling while preserving realism and simplicity.

Even in genres like psychological and investigative thrillers, horror, tragedy, courtroom dramas, and socio-political dramas, the need for authentic, real, and simple storytelling remains paramount. Here are five classics from the more serious genres:

Kireedam (1989) –

Sethumadhavan aspires to fulfill his father’s dream of becoming a sincere police officer. However, a fateful scuffle with a criminal to save his father’s life thrusts him into the criminal world against his will. Overwhelmed by injustice and rage, he descends into madness, and ultimately gets abandoned by his family. Directed by Sibi Malayil, this film won Mohanlal a national award and was later remade in six languages, including Hindi, Tamil, Telugu, Kannada, and Bengali. (available on Disney+Hotstar for free)

Dasharatham (1989) –

Rajiv, a man born with a silver spoon, is an alcoholic who wastes his life in debauchery, with no aim and no one to call his own. When a friend visits with his family, Rajiv forms an attachment to one of the children, sparking a desire to have his own. Unwilling to marry, he turns to surrogacy. He finds Chandradas and Annie, a couple in need of money. Annie agrees to be the surrogate, but as she becomes attached to the unborn child, she struggles with the idea of parting with it. Considered one of the best films by writer-director duo Lohithadas and Sibi Malayil, this tragedy delves into profound philosophical themes. (available on YouTube)

Oru CBI Diary Kurippu (1988) –

Directed by K. Madhu, this investigative thriller revolves around the suspicious suicide of a rich businessman’s daughter-in-law, likely a murder. With numerous suspects within the businessman’s family, and the businessman using his influence to suppress the truth, the case becomes complex. The victim’s family protests, leading to the CBI taking over the investigation. Mammootty plays the meticulous investigating officer, Sethurama Iyer, who unravels the case amidst numerous hurdles. The film showcases the intricacies of police work, the nexus between the wealthy and the establishment, and the process of forensic investigations. It spawned five sequels and was remade in Telugu and Hindi. (available on Disney+Hotstar for free)

Bharatham (1991) –

Another collaboration between Sibi Malayil and Lohithadas, this film explores the strained relationship between two brothers, Raman and Gopi, who hail from a musical heritage. Gopi, the elder, and more renowned brother, succumbs to alcoholism, losing his acclaim. Raman reluctantly steps up to uphold the family’s musical legacy, causing tension as Gopi resents his deteriorating condition and refuses to pass the baton. This musical family drama features stellar Carnatic classical and semi-classical music, marking an iconic collaboration between music director Raveendran and singer KJ Yesudas. The film’s songs, and the performances of lead actors Mohanlal (Kalloor Gopi) and Nedumudi Venu (Kalloor Raman), are timeless. (available on Disney+Hotstar for free)

Thaniyavartanam (1987) –

This film revolves around Balan, a government school drawing teacher, and his family. He belongs to an upper-caste joint family believed to be cursed by a goddess. A male from each generation is destined to become mentally ill and be chained in a room. This curse has left the family isolated and impoverished, trapped by their own beliefs. Despite Balan’s sanity, he too falls prey to this cycle. The film, a hard-hitting social drama blending elements of horror, powerfully critiques how we become slaves to our beliefs. It is a powerful social commentary on how even the sanest can be driven into insanity by a mob. It also questions the absurdity of what we believe is normal. (available on Amazon Prime)

So what is that we are afraid of losing from Malayalam cinema?

I introduced my wife to Malayalam cinema a year into our marriage, which was 13 years ago. OTT platforms were still an emerging concept in India then. I had managed to find a decent copy of Vadakkunokkiyantram with English subtitles, believing it would be the perfect introduction given her taste in films. However, I was wary because the cinematic language of Malayalam films is quite distinct from what people in the Hindi heartland are accustomed to.

To my surprise, she loved it and raved about it to her friends and relatives for days. Over the years, she watched many more Malayalam films, often on her own, as our tastes in movies are diametrically opposite. Now, she even recommends films to me. Recently, two films she holds dear are Home (2021) and Njan Prakashan (2018).

Last weekend, in preparation for this essay, I decided to ask her what she thought made Malayalam cinema different. Her reply left me smiling. She said that in Malayalam cinema, the story is paramount. Every other aspect of filmmaking seamlessly blends with the story, ensuring nothing stands out unnecessarily. Even the performances serve the story. In essence, the film is entirely the director’s vision, not dominated by actors or technicians.

This is a characteristic that Malayalam filmmakers should strive to preserve while embarking on uncharted territories. Films like Maheshinte Prathikaram (2016), Kumbalangi Nights (2019) and Ee.Ma.Yau (2018) from this era restore faith that there is a sincere effort being made to keep the soul of our films alive.

Undoubtedly, the inventiveness and technical prowess of the new generation of filmmakers and actors make us proud, but at the same they must not forget what made our cinema different at the first place. Arundhati Roy’s quote comes to mind in this regard: “To never simplify what is complicated or complicate what is simple.”

To conclude –

Our cinema is an integral part of our popular culture. For us the story is above all else. Its characters weren’t demi-gods or demi-goddesses; they were people like us. And yet they managed to entertain us. While we might have felt a distance from the stars who played those characters, we never felt distant from the characters themselves. They weren’t larger than life; they were people like us, living in houses like ours, eating, speaking, and leading lives like ours. This simplicity helped our films stay grounded and connect with everyone. I hope this essence is not lost in the mist of box office glory.

About the author –

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. He is also an enthusiastic blogger, and on his blog (www.whatsonsidsmind.com), he shares his essays, travelogues, book and film reviews.