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!
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.