Sabarmati River front (2006) before the River Front Project - Ahmedabad

The Palayam Under pass under construction 2004 (Crane Topples) - Thiruvananthapuram

Kanyakumari before (before 1996) Thiruvalluvar Statue - Kanyakumari

Love is not just a beautiful and emotional experience, it is a vindictive and revengeful experience. 

Accept that or have roti sabji.

Once upon a time it was difficult to bring in colour, now it's difficult to loose colour.

Raju was talking about the mind not Photoshop (Shift & Command & U)

As marriage proceeds people become 0 and 1.

METSMALL, FEBUCET, CRESTOR, TELMA,  FEBUCET 

- These are the basic elements of life. -

The funny thing is that Raju responds very seriously to any request from any student through Facebook. But Raju learned the lesson, never respond to any Facebook requests for help. 

Because frisking of passenger and checking of hand baggage is mandatory.

The Gender of Manichitrathazu 

by Prahlad Gopakumar

Disclaimer: For the crazy fans of this film, this is not an attempt to measure the quality of the cinematic experience but an attempt to analyze the gender stereotypes that intentionally or unintentionally surrounds this film.

This article works only if this film has been seen.

The idea of the female ghost has been integral part of horror cinema since it’s beginning. The idea of a ghost itself could be seen as complete fantasy (as most of us like to believe) or as the constructed - imaginary - projection of reality by the director/ writer of these films. If we see this as fantasy then this whole article goes for a toss. In the latter case let us look at the female ghost in the film Manichitrathazu.

Most Malayalais have made the film Manichitrathazu a part of their cultural lives and the films repeat value is amazing. At the same time cinema always reflects the socio-political conditioning of the society at the time in which it’s born. The film was made in the 90’s Kerala, India when the country was just economically opening up and gender based social norms had yet to be challenged. The major proportion of filmmakers, viewers and head of the families being male, cinema was mostly chauvinist. Most directors or writers never challenged the existing idea of gender as it might backfire or they just never thought of it. The strong reply always is that they were portraying reality. So lets analyze these ‘realities’.

Who is Ganga ?

Born in a small village (Evoor) in Kerala and later went on to live and study in Calcutta. She is in her late 20’s, is well educated and capable of taking her own decisions. She has open hair, tall, dresses in churidars and stylish sarees unlike the other women in the film.

The film keeps hinting the fact that Ganga is going to be the trouble maker from the moment she arrives. One of the character’s in the film mistake her to be the ghost the moment she arrives (Sees her walking bathed in the red light of the Maruti car.) In another scene another character sees her eyes through the wooden jallies and gets scared. Her husband is warned by the head of the family that girls from other families (Ganga is the outsider) will not be treated kindly in Madampally by the ghosts (or by the family?). Later in the film she gets possessed by the female ghost of a dancer called Nagavali.

The fact that the writer chose the female ghost (of a dancer called Nagavalli) to specifically haunt Ganga (even though there are 3 more females in the family) is interesting.

Is the accusation of being possessed a representation of the Malayali male’s lack of acceptance of the educated, modern woman with an opinion?

By the end of the film Ganga is ‘cured’ (learnt her lessons) and decides that they will return to Calcutta as that’s the best place for them. Could it mean, Kerala is not a place for ‘such’ women?

Is this a cinematic version of lack of acceptance for the daughter in law in the husband’s family? Yes, it’s worth the question.

Who is Sreedevi?

She is the cousin of Ganga’s husband (Nakulan) who could have married Nakulan but for her problematic horoscope. Later she got married to someone else and had a troubled marriage, left the husbands house and now lives with her parents.

As the film proceeds the filmmaker leads us to think that Sreedevi is the possessed one. Infact the males in the family accuse her as the problem maker and soon the entire family including her parents are convinced. It’s so convenient that that her anger, smile and words sound evil from thereafter. In a later scene the family powerlessly allows her to be ‘man handled’ by the so called male doctor who’s only authority in the family is of being a friend of one of the males in the family.

The filmmaker, by introducing such a character directly uses the stereotype that the divorced or lonely woman is always a trouble. So without the male presence in her life is she insecure and incomplete? Can she be mistreated and the males can still get away with it? Can she be ‘used’ in any way to solve other issues in the family?

Later at the end of the film the psychiatrist (who is wild and slightly unconventional) proposes to Sreedevi by mentioning that it’s not easy to live with psychiatrists.

Is it an indication that you need ‘special’ people to marry a girl with poor horoscopes ?

Who is Nagavalli ?

The prolific dancer who was killed by the Karanavar (head of the family) for falling in love with another male dancer and not him.

The filmmaker chose to give Ganga possessed by Nagavalli two aims: to get back her beloved and to take revenge on her murderer. The filmmaker never thought that Nagavalli could have other interests in life other than the two men. She was supposed to be a great dancer but we see her dancing only to seduce her lover.

Another specific decision by the filmmaker is to make Ganga’s husband (Nakulan) the Karanavar who murdered Nagavalli. So Ganga once possessed sees her husband as the villain.

So lets reload Manichtrathazu into a new perspective of reality.



The secret story inside Manichitrathazu!

Disclaimer: This is a work of fiction and not meant to hurt the film, filmmaker or its fans.

Ganga and Nakulan are returning to the Nakulan’s hometown. They have a disturbed marriage. The power equation in their relationship is dominated by a modern, educated and independent Ganga.

They reach the village to take possession of Nakulan’s ancestral property. At the hometown Nakulan’s uncle is not willing to give him (sister’s son) the share of property. As soon as Nakulan asks about its keys the uncle cooks up a story of a female ghost (since ghosts are mostly female). Ganga persuades her husband and insists on living in the property that is legally theirs. The uncle realizes that Ganga is the powerful and intelligent one. His plans being shattered by a female, his ego is hurt. To solve the ghost story issue Nakulan soon puts the blame on the uncle’s daughter who is a widow. Nakulan insists that she is possessed. She being a widow makes it easy for the rest of the males to buy the accusation.

Nakulan then calls “the alpha male” friend into the family to settle all his issues. Nakulan explains to the alpha male that his failing marriage has to be solved. The alpha male understands that Ganga is a strong female character and she needs to be taught a lesson. He decides that Ganga being modern, educated and an independent woman is not to be welcomed by the husband’s family. She is the one possessed he declares!

Since Ganga was a headache for the uncle he agrees. Soon the entire family believes that Ganga is possessed. The males group up and plan to ‘fix’ Ganga and bring her back into the family’s values and culture. The uncle and Nakulan group up though they have different aims.

They execute their ‘plan’ (it could be anything you would want to imagine about what a group of males can do to a woman they hate) together.

Ganga has now learnt her lesson and she decides to leave for Calcutta with her husband. The uncle gets back the control over the property. Nakulan gets back the tamed Ganga. The alpha male decides that the widow has to be his partner. All the males are happy and the film ends.

All this fits into the patriarchal context of Kerala doesn’t it? 

Inspired by conversations between Shalini, Sunitha & Prahlad.

 Raju can't think torture. 

"Because the electric cattle prod turns anyone into a prolific storyteller." - Arundhaty Roy

AMC is Annual Maintainance Contract.

AMC is Ahmedabad Municipal Corporation.

AMC is Army Materiel Command.

AMC is Anu Minu Chandu.

AMC is AMC.

Raju cannot repeat life.

So atleast breakfast has to be eaten.

Why do you always want to know why we are doing it?

Searching for the darkness always leads to light.

He said "Cinema or Bollywood, which one do you want me to talk about?"