MALAYALAM FILM

 HISTORY

     Cinema has always been a strong means of mass communication. In Kerala, it has always been a popular art form apart from being a good entertainer. The best thing about Malayalam cinema it is inclusive of architecture and sculpture as well. Cinema has its own influence on our culture.
     Keralites enjoy the films while understanding the reality in it. They possess a high degree of insight and intuition and distinguish reality from fiction in the themes of experimentalism. Malayalam cinema has contributed much to the inventive and critical analysis sectors of Malayalam literature. Most of Malayalam films are unique given the fact that the state has a rich art and cultural heritage. When most of other linguistic films started taking of stories from the Puranas, films from the state have tackled social issues from the star
     K. W. Joseph established the first cinema hall in Trichur, Kerala in 1907 with a manually-operated film projector. Then in 1913, the first electrically-operated film projector was established in Trichur by Jose Kattukkaran and was called the ‘Jose Electrical Bioscope.’ Soon, cinema halls came into being in other major cities of the state. Initially, only Tamil, Hindi and English films were exhibited in these halls. Tamil Cinema was a hit – given the similarities between the two states, the Malayalee audience loved it.
    The first Malayalam movie, a silent film, Vigathakumaran was released in 1928. Produced and directed by J C Daniel, a businessman with no prior film experience, the film was a commercial failure. The second film Marthanda Varma, produced by B V Rao in 1933, was based on a novel by C V Raman Pillai. Legal issues ensured that the film was not released. The first Malayalam talkie, Balan, was released in 1938. It was produced at Chennai (then Madras) in the neighbouring state of Tamil Nadu by S Nottani. Tamil producers made Malayalam movies till 1947, when the first major film studio, Udaya was established in Kerala. With this, more Malayalees entered the field of films. The progress of production of Malayalam films was very slow during the next few years – one film each was produced in 1940, 1941, 1948 and 1949.

Successful Malayalam Cinemas of the Early Period
Jeevithanouka

Jeevithanouka, made in 1951, was a turning point for Malayalam cinema. A highly dramatic musical film, narrating the story of ego clashes in a joint family, was mainly targeted towards the women audience. The movie was a huge success as considered a ‘super hit,’ a first for Malayalam cinema. Thikkurishi Sukumaran Nair, a stage actor thus became the first 'superstar' of Malayalam cinema after the success of the film. This success, however, had a negative effect on Malayalam cinema as films were made on the same theme and creativity was nil for a long time. Superstars took over the driver's seat and directors were forced to the background
Neelakuyil (The Blue Cuckoo)
    Through Neelakuyil (1954), Malayalam cinema for the first time had an authentic Malayalam story. Penned by Uroob, Neelakuyil was directed by the duo of P Bhaskaran and Ramu Karyat. A melodramatic film, it dealt with the issue of untouchability in the society. It elevated Satyan and Miss Kumari to stardom after its huge success. It also gave way to original music scores. Malayalam film music which till then cheap imitations of Hindi and Tamil film music, had a fresh breath of air. K Raghavan arranged the lyrics written by P Bhaskaran. The music scored for the movie was to a great extent influenced by the Malayalam folk music and the music was an instant hit. This was also the first Malayalam film to be shot outdoors. Neelakuyil heralded the arrival of a mature Malayalam cinema on the Indian film world.

Newspaper Boy
    Newspaper Boy, made in 1955 reflected the neo-realism in cinema. The film was a fruition of a group of college students. P Ramadas, who was totally new to cinema, directed Newspaper Boy and almost all technical works were handled by amateur students. This film was released a few months before Satyajith Ray's classic- Pather Panchali hit the silver screens. The movie narrates the sad story of a printing press employee and his family reeling under extreme poverty. He dies of extreme poverty and illness, which forces his children to stop their education. His elder son, Appu, leaves for Madras in search of a job. Failing to secure a job there, he returns and decides to take up the job of a newspaper boy

The Growth: 1960s 
    After Neelakuyil, films with real Malayalam stories set in the backdrop of Keralite villages, started arriving. Minnaminingu directed by Ramu Karyat and Rarichhan enna Pouran by P Bhaskaran were noted films produced during the late ’50s. Takazhi Shivashankara Pillai's famous novel Randidangazhi was also seen on the silver screen.
    In 1961, Kandam Bacha Coat, the first full-length colour film in Malayalam was released. It was adapted from a famous social drama. Bhargavi Nilayam, made in 1964 directed by A Vincent is another notable film. Vincent also directed some of the best films of early ages like Murapennu, Nagarame Nandi, Asuravithu and Thulabharam. Irutinte Athmavu directed by P Bhaskaran, gave a new face to superstar Prem Nazir, who till then was seen only in romantic hero’s role.

Chemmeen
  
    Chemmeen (1965) directed by Ramu Karyat became the first South Indian film to bag the President's Golden Lotus Award for the best film. Based on a famous novel of the same name by renowned Malayalam writer Takazhi Shivashanakara Pillai, Chemmeen led the way to the development of Malayalam cinema in technical and artistic aspects. It brought together some of the best technical talents then available in India, Salil Chowdhari (music), Markes Burtly (cinematography) and Hrishikesh Mukhargee (editing). It also had a huge star cast.

CHEMMEEN DIRECTOR

      Post Chemmeen, Malayalam cinema saw an increase in quality films, based on literary works of some of the best writers of Kerala. After Chemmeen, Ramu Karyat directed Ezhu Rathrikal, which narrated the story of the down-trodden. M T Vasudevan Nair made his film debut by writing screenplay for Murapennu. Directed by A Vincent, Murapennu was a landmark film. Oolavum Theeravum by P N Menon announced the revolutionary changes Malayalam cinema was about to witness in the early ’70s. A new generation of filmmakers who realized the uniqueness of the language of this medium, ventured into a different kind of cinema. 

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