A Tribute To The Golden Age.
Is Cinema only for entertainment? If it isn't, then what's the real role?
Sethumadhavan, Krishnan Nair, Sasi Kumar, Bharathan, Pappettan... they were indeed golden. No doubt. But, I'm talking about a few who knew how to make cinema but didn't get a fair share of platform to present what they have. They had talent, mentality, structure and plot, but lacked power and voice. This article portrays their life and cinema in an impartial manner.
(Disclaimer: All arguments are totally subjective. It's what I know and heard from the mass society. If I have missed someone or something crucial, my apologies.)
Malayalam cinema during its outbreak had more power and pride than any other industry. It made the laymen's life entertaining. Everyone stood for this media. It influenced every being who knew how to enjoy cinema. With this influence, the element of 'Starness' got increased. The value of cinema got hit with a massive punch within a short span of time. It became somewhat a superpower. Cinema started to rule the society by making a shimmer or elegance and popularity. Till now this shimmer is valid and its widening. I think, this is the only industry where people from every sector tried their luck to get inside the star field. Some even sacrificed every bit of their asset to prove what they have. By the middle of 90s, the industry received a new prosthetic to value the aspect of 'Community and Communion'. Some call it 'The Merger', some named it 'Politics'. This made a serious yet fashionable shift inside the industry. For the sake of this article, I would like to pronounce it as 'The Thing'. So, this 'Thing' has made some tremendous changes inside the union. What are those ?
Cinema society has a pretty good role with societal politics. Most of the time, cine-people tend to shift their ideology by visualising societal politics. (Not always, Ok?) This thinking has made some very satisfying contributions to the industry. Writers began by interlacing societal politics with reels to promote and post contemporary civil structure. It mainly predicted the overall political structure by all means. Lal Salam(1990), Sandhesham(1991), Mafia(1993), Pathram(1999) are such flicks. But, I'm not talking about cinemas with political figurines. I'm all about 'Is there Partialness In Malayalam Cinemas?'
There were some phenomenal moviemakers who knew what they were doing. They brought some twisting turns inside the Malayalam tinsel town to challenge their contemporary attires. Their movies demanded Drama, Style, Utopia, Thrills and Poverty Porn. These makers had their own style in implementing stories. Sunil, K.K Haridas, G.S Vijayan, Thulasidaas, Mohan, George Kithu, Biju Varkey, Sundardas, Jayaraj, K.B Madhu, Muralikrishnan, Venugopan, Shashi Sankar, Captain Raju, Suresh Unnithan and some more. These masters introduced some very unusual segments inside the Malayalam industry. Most of them received wide accolades also. But, where are they now? At least, where are their memories? No one knows. Do they still have that old wish to strike a comeback? I don't know. I have doubts upon that. It's because, the overall politics in on the run. Who knows what will happen in the near future ?
End of Part One.
To be continued...
Meet the author
An Existential Nihilist who loves scribbling and editing. Doing Masters in English and Cultural Studies from Christ University. A Malayali Movie buff who hugs and squeeze screenplays and scripts.
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