Kaliveedu - The 1996 Malayalam movie which balances marriage

Sometimes reading comments on a movie video can tell you a lot about the sentiments of the generation. It makes you reflect back to the movie and its message and how relevant it is to the current generation.

A movie which I feel is misunderstood is Kaliveedu. This 1996 movie by one of my favourite directors Sibi Malayil is about marriage, its breakdown and the roles and responsibilities of husband and wife to make a marriage successful. Imagine a SWOT analysis of a product and finding its USP. The movie is somewhere on the lines of such a deep discussion. Malayil in his usual way made or attempted to make a movie which passes on a message. How that message is taken or received by the audience of then and now is up to the people.

Kaliveedu is a 1996 Malayalam family drama film directed by Sibi Malayil. It stars Jayaram, Manju Warrier, Jagadish, Sunitha and Vani Viswanath. The film explores the marital relationship of Mahesh and Mridula and their lives following their divorce.



Personally, I loved the movie. Even if I wouldn't have seen Malayil’s name flashed on the screen before a cheery Jayaram ( love his smile, irrespective of the movie) and a grumpy Jagadeesh open the scene with a usual Malayali trademark banter of sarcasm, playful retorts and giving a possibility of a fun, light hearted movie ahead.


Jayaram plays Mahesh who is an architect/interior designer in his own company. Ulahannan played by Jagadeesh is his friend and neighbour. The characters are minimal and not a rambling household of elders, uncles, aunts and cousins. Malayil probably wanted to focus on just the man women relationship.


The movie starts with a very modern USA returned Yamini insisting on Mahesh’s work for her future house. As they get to know each other, Yamini’s father takes a liking to him. Mahesh is reluctant to move forward with the relationship. And then he narrates his story to Yamini. A past of a broken marriage, of misunderstandings and a house which for him resembled clay.


Mahesh married Mridula, a proposal which was liked and mutually agreed by all. As they start their new life, problems arise because of Mridula’s incompetence and immaturity. But not everything is her fault. Mahesh is strictler for discipline, order and a neat house. He also has specific taste preferences. He refuses to adjust and Mridula stubbornly messes up her role too.


Having known both the actors with an impressive and legendary movie list to their credit you know you would not get a lackadaisical performance. As a husband who loves his wife but also likes order and etiquette in his home, food and in his being, Jayaram portrayed the male semi-patriarchal character very well. But with a hint of mellowness and warmth. Manju as the perky and young wife shows the initial immaturity of Mridula,In the manner that Malayil must have desired.


The character of Yamini brings in the twist that is again a genius of Malayil. We wonder if Mahesh will go ahead with the live-in relationship with her (scandalous for 1996 Kerala) and become a more adjusting husband, Or will Yamini teach him a feminist lesson? Will Mridula find someone else and this becomes a triangle to square based love story?


Malayil though believes in traditional romance. The old fashioned kinds which endeared him to generations of Malayalies. And me too. Mahesh is thus pushed and pulled enough by Yamini’s antics at his sacred home, he rushes to Mridula’s house on hearing that she may get married again. Rest is a story of how they come together by the kindly intervention of several people.


I would have dismissed this movie as regressive and one of those wife-bashing movies which were popular in the 90s. But Vani’s mini speech at the climax and the viewpoint shared about both husbands and wives, the understanding nature of Mridula’s father (played by Innocent) and the quiet support of Ulahannan (Jagadeesh) a friend and neighbour, shows maturity of the director in forming a movie and showing a story of well balanced emotions. Here neither patriarchy nor feminism wins. Rather it is a message of maturity and balance, which applies to all ages and cultures where marriage is still respected. If that is the case, then this movie is a winner. It depends on your viewpoint.

Ente Sooryaputhrikku 1991 - No muscles, only love. A touching mother daughter story.

Ente Sooryaputhrikku

In Fazil sir’s own admission, 'I have often had bold, independent women in my films, be it Girly of Nokketha Doorathu Kannum Nattu, Tintumol of Ente Mamattukkuttiyammakku, Ganga of Manichitrathazhu or Maya of Ente Sooryaputhrikku.’ Which is completely true when you see a bubbly but not childish Maya winking at the attendant in the hospital to bend the rules of visiting hours. Later in the movie when the same Maya sheds the playful cloak and adorns the yearning for her mother, you know a Fazil movie will always do justice to a woman’s heart, mind and personality in an intelligent way. Maybe that is why Girly, Tintumol, Ganga and Maya are sometimes our sister, mother, aunt, friend and that girl whom we would have liked to be our best friend.

The period between 1985 and 95 was a time of change in Malayalam cinema. Movies like Ente Ammu Ninte Thulasi Avarude Chakki (1985), Ozhivukaalam (1985) Anubandham (1985), Nandini Oppol (1994), Mazhavil Kavadi (1989), Kadinjool Kalyanam (1991) and Manichitrathazhu (1993) and so many more movies showed women characters as not an exhibition puppet or a mere Mona Lisa. Directors took liberty, broke out of societal restraints to show that women could be gentle as Leonardo da Vinci’s Lady with an Ermine, volatile as Judith Slaying Holofernes by Artemisia Gentileschi or stylish as Portrait of Madame X by John Singer Sargent.


Portrait of Madame X

 Lady with an Ermine   

                              

 Judith Slaying Holofernes

Ente Sooryaputhrikku is a 1991 Indian Malayalam-language film directed by Fazil and starring Amala, Srividya, and Suresh Gopi. It is a story of the separation and meeting of a mother and her daughter. 

Srividya plays the mother who is a famous classic singer and who takes the decision to give up her baby due to her fear, inability, cowardice and growing career. But the mother is not shamed in the movie. The decision comes from a mature place of knowing that she will not be able to live in her upper class society. A decision she weeps over for years though she does it behind a tough facade.

 

Maya (played by Amala Akkineni) is a spoiled child who loves to create issues in her hostel as well as in college. She has a mini fan following among her friends and her charm and beauty works on all. Even with the nuns (shown as grumpy and frumpy - really why are religious people shown as such? I know a lot of happy priests and nuns too!)

One day along with her friends, she comes across the prim and proper Dr. Srinivas (played by Suresh Gopi). The mischievous Maya is seemingly attracted to him,though she just doesn't know it or admits it.

She decides to make fun of him, resulting in some light moments and which will be a treasure trove for college students in hostels. Soon the handsome Srinivas rebutts her practical joke and insults her saying that she is a fatherless child. Shocked Maya attempts suicide, but the same doctor saves her. They fall in love and she gets back to normal, but she is curious to find out who her father is.


She discovers that her father had adopted her when she was baby and her biological mother is K. S Vasundhara Devi (played by Srividya), famous singer. She tries every bit to make her mom accept her - crashing in concerts, some childish and over the top actions to notice her. etc. Finally her mother accepts Maya, but before she announces this to the public, Vasundhara Devi is murdered by her greedy manager for her wealth. Maya kills her mother's killers and she is sent to jail. Srinivas marries Maya while she serves her sentence.


Suresh Gopi sans the muscles and the grim expressions come out as the supportive partner that Fazil had in mind for Maya. No expression is too hard and no muscles were displayed in this gently, human relations focussed movie. Ente Sooryaputhrikku is all Amala. It is just about a parent and child, it cannot be called even a romantic flick. Colourful, pickled with ideas, spring in her step and light in her eyes.

  

Srividya is an enigma as always. Sad and melancholy when the mother starts to realise her daughter’s love and need and fierce in her care and pampering when the two unite. I don't think I have seen any movie of Srividya's where she gives a lackadaisical performance. Top notch and with the right eyebrow raise, parted lips, frown, blink and even the right amount of tears and vocal capability. She is truly an art on screen.


Ente Sooryaputhrikku was simultaneously shot in Tamil as Karpoora Mullai with Raja playing Suresh Gopi.

Appuni - 1984 Malayalam movie - Mohanlal as an anti-hero and Nedumudi Venu as the innocent man.

If you are a fan of a movie director and love his or her work, then it is great to start watching / analysing and immersing yourself in their creative work, from one of their first pieces. I'm a huge huge fan of Sathyan Anthikkad. It is a ritual at my home to watch Sandesham, Achuvinte Amma , Thooval Kottaram and many such gems visualised and created through his simple outlook towards a Malayali life. Almost every movie of his is a gem. So I decided to use my movie-freak-homemaker life to a better good and researched his filmography. And why should one miss even the lesser known movies from such an acclaimed director?




I decided to start with the very first of his movies which established the fantastic friendship between Anthikkad and probably one of the blessings to Kerala - Mohanlal.

Appunni is a 1984 Indian Malayalam romantic comedy film directed by Anthikad and penned by the then popular satirical writer Vadakkke Koottala Narayanankutty Nair, commonly known as V.K.N. It is based on V. K. N.'s story Premavum Vivahavum and is known as the only screenplay he has written. The film stars Nedumudi Venu in the title role, while Mohanlal, Menaka, Bharath Gopi, and Sukumari play other lead roles.

  
                                                                                   

Let me first say head on that Lalettan is not the hero here, it is Venu sir. Yes. And Lal plays a slick, conniving anti-hero, not a villain, but a guy set to outsmart an innocent man. He doesn't use weapons, doesn't jump off old Mahindra jeeps and fencing guys in head-to-toe white uniforms. Nope that isn’t Anthikkad style ( and I am thankful for that because I am not a fan of action movies ! )

The film explores the love triangle between the characters. Appunni ( Nedumudi Venu ) and Ammukutty (Menaka) are lovers from childhood. While Appuni is a serious, brooding and grumpy man, he is kind hearted to one and all. And even more secretive is his love for Ammu. She is a vivacious and fun loving girl who craves attention and expression of love from him. Ammukutty's father Ayyappan Nair ( Bharat Gopy ) and his wife (Sukumari ) are aware of the love and the relationship between the two young people and have confirmed it long ago. So it is a well settled fact even in the entire village.


 

                                                

Things take a twist when a handsome,rich, slick-talker man from a higher caste arrives in the village. His wealth, status in the society and smart antics sit well with all including Ayyappan Nair and Ammu. Much to Appuni’s dismay, Nair arranges her marriage with a rich school teacher, Menon Maashu. Ammukutty is distracted and perhaps in her childishness, she ends her relationship with Appunni and decides to marry the Maashu.

However, Maashu fails to arrive on time for the marriage ceremony. Ayyappan Nair, who is embarrassed in front of his guests and the village folk is now in tears and hollowed out. He assumes that Maashu might have cheated his daughter. Now he can only turn to the ever-dependant Appuni for saving his honour.

In haste, he conducts Ammukkutty's marriage with Appunni. Much to everyone's amazement, Maashu arrives late at night. Once again he manages to cleverly trap the harassed and confused Nair in his excuses and lies of why he couldn't arrive in time for the ceremony.

Once again the bizarre night takes a new turn and now Nair wants Ammukutty to marry Menon Maashu.

Angry at the baseless thinking of her parents and the lack of sanctity shown towards an innocent man like Appuni as well as disrespect towards her marriage vows, Ammukutty takes a decision.

 



Appuni movie was Bharat Gopy’s first collaboration with Sathyan Anthikkadand was also the only movie where Bharat Gopy was paired opposite the legendary Sukumari as an onscreen couple. Sathyan Anthikkad pulled off the seemingly impossible task of adapting VKN’s multi-layered, contextual humour with just the right tinge of sarcasm and self-deprecation fairly well for the big screen, as his characters came to life in the able hands of some of the finest minds on the Malayalam screen. And as Perattupadaveettil Ayyappan Nair, Bharat Gopy was a treat to watch onscreen.

 

Director Sathyan Anthikkad with Gopy

Vainglorious, conceited and self-important – Perattupadaveettil Ayyappan Nair cannot think of an instance of existence where his purportedly militant, glorious ancestry is unattached to his personality. If not in character, at least by name, that is. If you are someone who has read the literary work and watched the movie, you would be surprised at how uncannily close both the creations are. Bharat Gopy effortlessly ensured that. Echoing director Sathyan Anthikkad recalling the “making of the character image”,


In half an hour he stood before me as Ayyappan Nair, the version you see in the film. “This moustache is a sign of pseudo-valour, for belonging to the ancient, militant, Perattupada lineage,” as he twirled it. “Ayyappan Nair is a devotee of the Devi, and hence the vermillion tikka on the forehead. This scant hair combed flat and across my bald patch shows his naivette and vanity to appear young and virile, a sort of ‘matching up to his warrior clan lineage.’ I was ecstatic. This was brilliant.

It was brilliant not just one time. It was, with every film he associated himself with. Every time.

Author VKN with Film Director Sathyan Anthikkad and Cartoonist Yesudasan.

Credits -
https://bharatgopy.com/filmography/appunni-1984/
https://ommst.weebly.com/appunni.html
 http://yesudasan.info/photos.html

Aaye Din Bahar Ke (1966) - Rolling hills and a rosy cheeked Dharmendra

A romantic film with a lovely variety of songs, picturesque places and rosy cheeked handsome Dharmendra rolling down the hills - all this attributes to a great package of comfort-watch on a rainy day. And this is exactly what Aaye Din Bahar Ke gives.

Isn't the name itself so refreshing? The coming of spring indicates freshness, flowers, love and new beginnings. Gone is the hardness of winter and the endless waiting for warmer and breathable weather. And spring brings joy to the hearts of the old and young alike.



There is the usual romance of guy meets girl and then the question of marriage. Kanchan (played by a beautiful Asha Parekh ) is tutored by Ravi (played by Dharmendra). Eventually they fall in love and her father Jankidas, a rich businessman is not opposed to the match. Things are humdrum and truly springlike.



There is no rich girl and poor boy unpleasantness here. The twist in the story comes at the time when the past of Ravi’s mother is revealed thread by thread. After that the movie takes a melodramatic tone. A search starts for the father and then the mother (played by ever-dependant Sulochna ) disappears.

Yes it all ends well but the takeaway from the movie is that relationships are just like the weather in nature. I don't know if the director chose the name with an intention to show the vagaries of life as compared to the vagaries of the weather. But I choose to believe the title of the movie is purposeful, to show us viewers that humans and love are so interlinked. Also to portray that life will always be like spring and flowery when you have good intentions in your relations and have secrets with your loved ones.


Directed by Raghunath Jhalani

poster coustesy - CineMaterial

Kaajal 1965 - Desolate Meena, powdery Padmini and one sided cat fights.

Jealousy, loss, grief and the classic tale of two women who can’t stand each other.



This movie is based on Novel "Maadhvi" written by Gulshan Nanda and is directed by Ram Maheshwari.


When a trusted Munim (Clerk) of a prestigious family passes away, the head of the family,Ranimaa (played by Durga Khote) take care of his children Kaushal and Madhavi (played by Meena Kumari)


At this point I have to say three things - one, I really miss seeing the ubiquitous munims of my childhood, walking around with a cloth bound ledger and calculating away on the tips of their fingers instead of the tie and suit officers with an air of importance around o them and their fancy scientific calculators


Second - what is with big families automatically taking custody of their employees’ children? I mean give them benefits like gratuity and provident fund, right? (insert goofy face here)


Third - why don't we name our women Madhavi and Rani anymore? Where did Ayesha, Sera etc come from?


Ok, let me go back to the old world and not compare them to the reality of this world. Anyway, that world and era were more charming even if I have to let go of some bare truths.

Ranimaa's only son is Rajesh (played by Dharmendra). Years pass by. No moving wheel and small foot changed to big foot scene-change here. Just a grown up handsome boy maa ka puttar. He is of marriageable age and meets as well as gets married to Bhanu Saxena (played by a very powdery Padmini).

Meanwhile, in a boating accident, Madhavi's brother Kaushal passes away, and a devastated Madhavi is left alone and pitied. Rajesh is heartbroken for losing a friend, Ranimaa feels guilty, the whole house is sad and grey. But Bhanu is not taking out any bit of stock of pity from her hard cold powdery heart. She not only envies Madhavi, but also begins a creative and intricate process of blaming her for everything. One sided cat fight round one begins.

Even to the extent of accusing her of having an affair with her husband. Bas ho gaya!!.


A depressed and self respecting Madhavi goes to kill herself and ain mauke par comes along a handsome Moti. No, not a black dog with a leather collar but the shero shayari dapper actor Raaj Kumar. I think even here he doesn't want to let Meena Kumari keep her beautiful foot on the dirty suicidal ground. ( “Aapke paon dekhe, bahut haseen hai, inhe zameen par mat utariyega, maile ho jayenge.” Pakeezah 1972)



Madhavi’s life is now at the benevolence of the one who rescued her. She gets married to Moti. What follows is a twist of fate for poor Madhavi who has to suffer from a gradual alcoholic husband. As usual the emotional part of the movie is heavily dependent on the wonderfully dismal wife's role played by Meena Kumari. The screen becomes poetic when she is on. I can watch an entire scene without dialogues if she is there.

 



An emotional movie showing the importance of relations, self respect and the sanity of marriage and great performances by the whole cast.


I found some interesting trivia for the movie - A heavy argument broke out on the film sets on day one. Raaj Kumar on seeing Dharmendra , inquired sarcastically " Where have you found this wrestler from!!Are you sure he can act?" An angry Dharmendra was ready to respond physically only to be calmed down by the director.

Posters courtesy - IMDB and postervile.

Congratulations Miss Anitha Menon 1992 - Suspecting husband and a silly Zainuddin

Congratulations Miss Anitha Menon is a 1992 Indian Malayalam film, directed by Thulasidas, starring Siddique and Sai Kumar in the lead roles.



Prakash, played by SaiKumar, a successful businessman, becomes suspicious of his wife Anita, played by Leena Nair. He receives an anonymous letter that indicates that she has an illicit relationship with another man. 

Played as a workoholic and a disciplined and pricipled man, Prakash forgets all rules and even the marital duties and communication with his wife. The letter however wakes him up.

The movie looked promising and packed a bunch of jokes with the ever funny and exuberant physical comedy of Zainuddin and the exasperation of Sudeep played by Siddique. However unlike Thulasidas’ earlier movies, this one lacks momentum. The story keeps stalling at the imaginary romance of Sudeep and Anitha Siddique. The constant suspicion that Prakash has, keeps bringing down the movie. 

An easy quick watch on a gloomy day. Zainuddin's witty replies were the highlight for me.

poster courtesy - Snehasalpam site

Chhaya 1962 - Nirupa Roy in a Hrishikesh Mukherjee movie

In almost all movies of the great director Hrishikesh Mukherjee, there is a naatak (playact) within a story. In Khoobsurat (1980), Manju (Rekha) and the other family members are playacting and ‘making fool’ of the house matriarch Nirmala Devi (Dina Pathak). In Golmaal (1979), Ramprasad (Amol Palekar) is playfully duping Bhavani Shankar (Utpal Dutt ) into believing there are twin brothers. And who can ever forget the evergreen Chupke Chupke, the master of comical errors?


Chaaya is one of the earliest movies of Hrishikesh Mukherjee on naataking within a story. The movie, primarily a romantic tale of a poor boy and rich girl, is more importantly the portrayal of mother and daughter and of sacrifice and devotion.

                


Manorma (NR) , widowed, homeless and helpless with an infant daughter, goes to Lucknow in search of her relatives. Unable to find them and in a moment of desperation, she ends up leaving her baby in the footsteps of a large house. The house belongs to Seth Jagatnarayan (Nazir Hussain) and he happily adopts her, having lost his wife earlier. Manorma, missing her child and regretting her decision, goes back to the mansion and begs for a job, but hides her relationship with the child. The merciful Seth, appoints her as the aaya/ nanny of Saritha.

 

They all move to Bombay and at this point the story includes the ever trustworthy character actor, Lalita Pawar as Seth Jagatnarayan's sister Rukmani Chaudhary. Ofcourse, she is the nosy, chatty and gossipy aunt, albeit harmless. It's a Hrishikesh Mukherjee movie and you cannot have any more negativity than eavesdropping ladies and evil eyebrows raised! There is a reason why generations of Indians have turned to HM movies for comfort and genius storytelling.


Enter Sunil Dutt. Oh what a handsome face and personality to behold! Not just as an actor, but to give a delightful unique blend of theraav (depth) and glamour to the role, Dutt sir is perfect. In the movie playing the secret role of Rahee, a poor shaayar (poet) and as Arun, a teacher, (see the layers of naatak within naatak here! ), he is playful, cheery, romantic, pleading, sorrowful and serious as and when the characters’ needs arise. Firstly as a shy and serious teacher, Arun is aware of his status difference and does not chase after the girl. The romance also develops through constant tuition classes and the delightful lilting songs of the master composer Salil Chowdhary. Then when he knows of Saritha’s infatuation with Rahee, his playful mischievous persona comes out. Fooling her with invitations to his home and to the beach under starry nights, play acting while tempting her with his voice and poems, he hums the beautiful "Itna Na Mujhse Tu Pyaar Badha" by Talat Mehmood & Lata Mangeshkar.

The romance is also not without a deep sense of culture and traditions as is the watermark of all Hrishida’s movies. Throughout his lessons, the teacher Arun also teaches Saritha of the Indian culture, freedom fighters and of the love of literature and poetry.


Since this is not a movie of only romance and boy meets girl, the maternal love so perfectly performed by Nirupa Roy - the true Mother India - of course has to be discussed too. Manorma, by this point of time in the movie, has assumed a quiet, behind the scenes caretaker of Saritha and is happy to do so - serving and loving her from a distance. But as the marriage proposals start coming in for the young girl, she realises that Saritha loves Arun.


Then after a lot of push and pull and the usual tug of war of parents vs children in matters of marriage, Saritha and Arun marry. Manorma is recognised as her true mother after Seth Jagatnarayan discovers an old photograph from her bag.


What I love about HM’s movie making is that he has the solitary gift of blending human emotions with the plot and presenting a pleasant, light experience of movie watching. It is like in his great mind he has a vision of how a movie should be watched, how a relationship should be presented, without it being weighed down by melodrama, unnecessary dialogues, tedious songs and long roped expressions.


I enjoyed Chhaya so much that I have already bookmarked it in my favourite movies folder, which is a sign for me that I will probably watch it many times more. And in that folder are almost all of Hrishida’s movies!