ONAM

Onam  is the largest festival in the Indian state of Kerala. It falls during the first month of the Malayalam calendar 

which is Chingam (August–September) and marks the homecoming of the legendary King Maveli. The festival lasts 

for ten days and is linked to many elements of Kerala's culture and tradition. Intricate flower carpets, elaborate 

banquet lunch, snake boat races, Puli Kali, and the kaikottikkali dance all play a part in the festival.

Significance

Onam is an ancient festival which still survives in the Modern times. Kerala's rice harvest festival and the festival 

of rain flowers which fell on the Malayalam month of Chingam celebrated the annual visit from pathalam of the very 

noble Demon King Maveli. Onam is unique since king Maveli is revered by people of Kerala from prehistory.

According to the legend, Kerala witnessed its golden era during the reign of King Mahabali. Everybody in the state 

was happy and prosperous and the king was highly regarded by his subjects. He was that much highly regarded 

among the subjects that even the Gods under Indra became jealous of Mahabali, they approached Mahavishnu 

claiming that Mahabali is now equivalent to an Indra. Since a world with two Indras represents imbalance, 

Mahavishnu assumed the form of a dwarf: the Vamana avatara and tricked him to Pathalam, the Underworld. 

However, as Mahabali is equal to an Indra, he is to wait until the next Yuga where he would be the Indra. In the 

meantime, with the grace of Mahavishnu, Mahabali visits his people on an annual basis. Mahavishnu serves 

Mahabali as a gatekeeper in the world of Pathalam as the Lord himself serves his greatest devotees.

It is this visit of Mahabali that is celebrated as Onam every year. People including children celebrate the festival in 

a grand way and impress upon their dear King that they are happy and wish him well.

The rich cultural heritage of Kerala comes out in its best form and spirit during the ten day long festival. The most 

impressive part of Onam celebration is the grand feast called Onasadya, prepared on Thiruonam. It is a nine course 

meal consisting of 11 to 13 essential dishes. Onasadya is served on banana leaves and people sit on a mat laid on 

the floor to have the meal.

Another enchanting feature of Onam is Vallamkali, the Snake Boat Race, held on the river Pampa. It is a colourful 

sight to watch the decorated boat oared by hundreds of boatmen amidst chanting of songs and cheering by 

spectators and viewers.

There is also a tradition to play games, collectively called Onakalikal, on Onam. Men go in for rigorous sports like 

Talappanthukali (played with a ball), Ambeyyal (Archery), Kutukutu and combats called Kayyankali and Attakalam. 

Women indulge in cultural activities. They make intricately designed flower mats called, Pookalam in the front 

courtyard of the house to welcome King Mahabali. Kaikotti kali and Thumbi Thullal are two graceful dances 

performed by women on Onam. Folk performances like Kummatti kali and Pulikali add to the zest of celebrations.

Mahabali's rule is considered the golden era of Kerala. The following song is often sung over Onam:

                                  “maveli nadu vaneedum kalam,

                                   manusharellarum onnupole

                                   amodhathode vasikkum kalam

                                   apathangarkkumottillathanum

                                   kallavum illa chathiyumilla

                                   ellolamilla polivachanam

                                   kallapparayum cherunazhiyum

                                   kallatharangal mattonnumilla

                                   adhikal vyadhikalonnumilla

                                   balamaranangal kelppanilla"

(Translation)

                                  “When Maveli, our King, ruled the land,

                                   All the people were equal.

                                   And people were joyful and merry;

                                   They were all free from harm.

                                   There was neither anxiety nor sickness,

                                   Deaths of children were unheard of,

                                   There were no lies,

                                   There was neither theft nor deceit,

                                   And no one was false in speech either.

                                   Measures and weights were right;

                                   No one cheated or wronged his neighbor.

                                   When Maveli, our King, ruled the land,

                                   All the people formed one casteless races"

The legend

Mahabali was the grandson of Prahlad (son of Hiranyakashyap who was slain by Vishnu in his Narasimha 

Avataram). Prahlad, despite being an Asura, had great faith in Vishnu. Mahabali learned the act of love and devotion 

to Lord Vishnu as a child, from Prahlad.

Mahabali conquers the three worlds

Kashyapa had two wives, Diti and Aditi, who were the parents of the demons and the gods (Asuras and Devas) 

respectively. Kashyapa, who had gone to the Himalayas to do penance, on his return found Aditi weeping. By divine 

insight, Kashyapa instantly recognised the cause of her grief. He tried to console her saying that nothing happens 

in the world without divine will and people should go on doing their duties. He asked her to pray to Vishnu and 

taught her Payovrata, a ritual that has to be observed from the 12th day of the bright half of Karthika (Sukla-paksha 

Dvadasi). Since Aditi carried out the Vrata with a pious heart, Vishnu appeared before her and informed her that he 

would help Indra.

Alternatively, the Devas were very annoyed as Mahabali became the ruler of all the three worlds having defeated 

the Devas. Devas, the celestial beings, were annoyed and jealous. The gods approached Vishnu and asked for his 

help. Vishnu said to the Devas that Mahabali is doing good things to his subjects and is eligible to become sura 

(devas). You devas should not be jealous about that. Being jealous would make you asuras. Vishnu decided to test Mahabali.

In the meantime, Mahabali was performing the sacrificial rite of the Viswajith Yagam or Aswamedha Yagam on the 

banks of Narmada River. He also declared that he would give anything that anyone sought from him during this Yagam.

Vamana visits Mahabali

Vamana (blue faced dwarf) in the court of king Bali (Mahabali, right seated) seeking alms.

Taking advantage of the Yagam and Mahabali's declaration, Vamana (Mahavishnu disguised as a Brahmin) came to 

the Yaga-shala. As he approached them, the sages assembled there perceived the extraordinary effulgence form of 

the young lad. Mahabali went forth to receive the Brahmin boy with all traditional honours and gave him an eminent 

seat befitting the status of a holy person. With the usual courtesy given to the people who come to ask for help, 

Mahabali told him that it was his good fortune that Vamana had chosen to honour him with his presence. Whatever 

Vamana desired, Mahabali was ready to fulfill. Vamana smiled and said: "You need not give me anything great. It is 

enough if you give me that extend of land covered by three footsteps of mine".

On hearing him, Mahabali's preceptor, the Brahmin Shukracharya (a Daitya priest), who had visions of the future, 

told Mahabali that the one who had come to take alms from him was not an ordinary Brahmin but Lord Vishnu 

Himself having assumed this form. He advised Mahabali not to promise the lad anything. But Mahabali was a king 

who would never go back on his word, considering it sinful to do so. Shukracharya insisted that he should not fulfill 

the demand of Vamana as he had come to deprive him of all his possessions.

onappottan

Onappottan, in traditional costume is a custom in northern parts of Kerala. Onappottan visists houses during the 

onam and gives blessings. Off late onappottan has become a rare sight, confined to villages.

Mahabali, determined to honour the word given to Vamana, begged the pardon of his Guru for disregarding his 

advice. Earlier, while Mahabali was embarking on the war with Indra, he had prostrated at the feet of his preceptor, 

Shukracharya, and on his advice had he started the Vishwajith Yagam from which he secured some very powerful 

weapons. It was only because of Shukracharya's help that he was able to conquer Indra. Mahabali's refusal 

angered Shukracharya. He cursed Mahabali, saying: 'As you have not heeded your Guru's words, you will be 

reduced to ashes'. Mahabali was firm and replied: 'I am prepared to face any consequence but will not go back on 

my word'.

Mahabali's reign ends

Saying so, he asked Vamana to measure the desired three feet of land. All attempts of Shukracharya to dissuade 

Mahabali proved futile. Mahabali considered everyone who came to him for help as god himself and never refused 

them anything. Mahabali told his Guru: "Prana (life) and Maana (honour) are like the two eyes of a person. Even if 

life goes, honour should be protected. Knowing that the person that has come now is the Lord Himself, I should be 

the most fortunate one as the Lord, who gives everything to mankind, is seeking something from me." Mahabali 

gladly said that even if Vishnu himself were to come to his sacrifice and ask for anything, he would deliver it.

Vamana as Tri-vikrama (victor of the three worlds) triumphing over Bali

Vamana grew in size until he towered above the heavens. With one footstep, he measured all of the earth. With the 

second, he claimed all of heaven. There was still one foot of territory that Mahabali owed him. Mahabali requested 

Vamana to place the final step on his head as the third step of land, for he had no other left. Vamana did so and in 

doing so, pushed him down to Patala, the underworld (the kingdom beneath the earth).

Vishnu's blessings

For the devotion of this daitya, Mahabali, Lord Vishnu (Vamana) granted him rule over the underworld. It was also 

granted that he would hold the position of Indra for one Manvantara, thus fulfilling his devotee's desire (the office of 

Indra being a rotating position, changing every Manvantara).

As a last gift, Mahabali was granted permission to visit his subjects once a year. Thus, Keralites celebrate the 

Onam festival to commemorate the memory of the Great King Mahabali who would keep his promise to visit. 

Mahabali fulfilled his name as the great martyr for the sake of Truth ("Satya"). The name "Mahabali" itself means 

Great Sacrifice.

During Onam, the feast and festive mood of the people, dressed in their best, is considered reminiscent of the 

prosperous and truthful life of the subjects during Mahabali's flawless reign. People wear new clothes (Vastra) 

during Onam. The 'Vastra' also stands for heart. Thus the significance of wearing new clothes is about making the 

heart new by removing all bad thoughts and feelings. People forgetting their sectarian outlooks, join together to 

welcome the auspicious 'Thiruvonam' day.

Moral questions

It would seem unfair that Lord Vishnu punished Mahabali, who like his grandfather (Prahlada), was deemed one of 

the greatest devotees of Lord Vishnu, and a very just king. However, Mahabali is not considered penalized by 

Vishnu, since he was granted the blessings of Vishnu and his remembrance allowed to be observed for eternity by 

way of Onam. He was also given the opportunity to keep his head under Lord Vishnu's holy feet, thus allowing all 

his sins to be wiped away.

Also, by the grant of Vishnu, Mahabali will be the next (eighth) Indra during the time of the eighth Manu, Savarni 

Manu. Purandara is the current Indra.

It is believed that Mahabali became the greatest earthly devotee of Vishnu by sacrificing his kingdom to him.

Sura means a being with more positive thoughts and asura means a being with more negative thoughts. According 

to Hinduism, sura will become asura by entertaining negative thoughts and asura can become sura by entertaining 

positive thoughts. Mahabali, having been born into an asura was verily a sura, on account of his character and 

innate nature. To test Mahabali's altruism and unselfishness, the Mahavishnu has taken the form Vamana and had 

sent him to Patala, which Mahabali had accepted gracefully. Thus, Mahabali became sura or god and Onam 

symbolizes the advaitha principles of Hinduism.[citation needed]

The Ten Days of Celebration

Onam pookkalam

A typical onapookkalam

The celebrations of Onam start on Atham day, 10 days before Thiruonam. The 10 days are part of the traditional 

Onam celebrations and each day has its own importance in various rituals and traditions. Earthen mounds, which 

look somewhat like square pyramids, representing Mahabali and Vamana(an Avatar of Vishnu) are placed in the 

dung-plastered courtyards in front of the house and beautifully decorated with flowers. Known as ‘Onapookkalam’, 

it is a carpet made out of the gathered blossoms with one or two varieties of foliage of differing tints pinched up 

into little pieces to serve the decorator's purpose. It is a beautiful work of art accomplished with a delicate touch 

and a highly artistic sense of tone and blending. (In a similar manner North Indians make something called 

"Rangoli" which is made of powders of various colors.) When completed, a miniature pandal, hung with little 

festoons is erected over it.

Atham- The first day of Onam Celebrations

Onam starts with Atham day in the Malayalam month of Chingam. Its believed that King Mahabali start his 

preparations to descend from heaven to Kerala on this day. The day also marks the start of festivities at Thrikkara 

Temple (considered as abode of Mahabali). The Onam celebrations across the state, starts off with a grand 

procession at Thrippunithura near Kochi called Athachamayam. In olden days, the Kochi Maharaja used to head a 

grand military procession in full ceremonial robes from his palace to the Thrikkara Temple. After independence, the 

public took over the function and celebrated as a major cultural procession which kicks off the official celebrations 

of Onam. Elephant processions, folk art presentations, music and dancing make Athachamyam a spectacular event 

which is now aggressively promoted as a tourist event.

The traditional ritual of laying Pookalam (floral carpet) starts on Atham day. The size of pookalam on this day is 

called as Athapoo and will small which eventually grew day after day. Only yellow flowers will be used on this day 

and the design will be simple. Also the statues of Mahabali and Vamanan will be installed on the entrance of each 

house on this day.

Chithira- The second day of Onam Celebrations

The second day is marked off when a second layer is added to pookalam design with 2 different colours apart from 

yellow (mostly orange and creamy yellow). On this day, people starts cleaning the house-hold to prepare for the 

Thiruonam day.

Chodi- The third day of Onam Celebrations

The pookalam now will start growing in its size by adding new layers or designs with at least 4 to 5 different 

flowers. The day also marks the start of shopping activities. Onam is associated with gifting new clothes, hence 

from this day onwards people start buy new clothes and jewelleries.

Vishakam- The fourth day of Onam Celebrations

Vishakam is considered to be one of the most auspicious days of Onam. In olden days, the markets open this 

harvest sale on this day, making one of the busiest days in the markets for public. Today Vishakam marks the start 

of many Onam-related competitions like Pookalam competitions etc.

Anizham- The fifth day of Onam Celebrations

Anizham is one of the most important day in the Onam days as it kicks off the great Vallam Kali (Snake boat) at 

many parts of Kerala. A mock Vallam Kali is conducted on this day at Aranmula as a dress-rehearsal for the famed 

Aranmula boat race which will be held after Onam.

Thriketa- The sixth day of Onam Celebrations

By the sixth day, the public frenzy starts going on higher side. Most of the schools and public offices starts issuing 

holidays from this day onwards and people starts packing their bags to their native homes to celebrate the festival 

with their dear ones. The pookalam design will be very large by this time, with at least 5 to 6 new flowers types 

added to the original designs.

Moolam- The seventh day of Onam Celebrations

On the seventh day, the smaller versions of traditional Ona Sadya (Onam special buffet lunch) starts in many 

places. Most of the temples offers special sadhyas on from this day. Festivities include Puli Kali (Masked leopard 

dance) and traditional dance forms like Kaikotti Kali also performed in various functions. The official Government 

celebrations starts on this day with heavy illuminations in Thiruvananthapuram City, Kochi city and Kozhikode 

along with fireworks.

Pooradam- The eight day of Onam Celebrations

The day marks off with a major traditional ritual where the small statues of Mahabali and Vamana will be washed 

and cleaned and taken around the house as a procession. It will be later installed in the center of the pookalam 

smeared with rice-flour batter. The smearing is done by small children whom will be Pooradaunnikkal. From this 

day onwards, the statue will be called Onathappan.@

The pookalam design from Pooradam day onwards get much bigger and complex in design. Shopping will be one of 

the major activities as the public will be making final purchases for the great Thiruonam day.

Uthradom- The ninth day of Onam Celebrations

Uthradom is the ninth and the penultimate day of the festival of Onam. It is considered as Onam eve and celebrated 

in a very big way. The importance of this day is last minute extreme shopping frenzy called as Uthradapachal and is 

considered the most auspicious day for purchase of fresh vegetables and fruits along with other provisions from the 

Thiruonam day.

Uthradam is known as FIRST ONAM because it marks the day when King Mahabali descends Kerala and the 

traditional myths says that the king will spend the next four days touring his erstwhile kingdom and blessing the 

subjects. Due to this Urthadom is celebrated in a very pompous manner with larger pookalam and celebrations in 

household. The Urthada lunch is very famous tradition. Women normally cuts the first set of vegetables on this day 

that marks the celebrations of Thiruonam in each household and preparations for grand Onam buffet starts in 

evening of Uthradom day.

Thiruonam- The tenth day of Onam Celebrations

The final day of Onam that culminates the 10 days of Onam Carnival. The day is known as Thiru-Onam (Sacred 

Onam Day) also known as SECOND ONAM. Myth says, it was the day Mahabali was suppressed to underworld by 

Vamana. The day marks return of Mahabali to his fabled land (Kerala), as per the boon he received from Vamana to 

meet his subjects and bless them. Apart from this myth, this day is considered auspicious being birthdays of 

several temple deities like Vamana of Thrikkara temple, Sree Ppadmanabha Swamy of Thiruvananthapuram etc. 

Though a traditional Hindu festival, Onam today has emerged as a secular festival associated with harvest time of 

Kerala.

Activities begin early in the morning. People clean their house, smear the main entrance with rice-flour batter (a 

traditional welcome sign), take early bath, wear new clothes and distribute alms to needy. The eldest female 

member of each family presents clothes to all the members of the family. Special prayers and Masses are organized 

in temples, churches and mosques that highlight the secular nature of festival. Later a very special and the biggest 

of all days, Pookalam is prepared to welcome Mahabali.

The most important activity of Thiruonam is the grand Thiruona-Sadya, well known for being one of the most 

sumptuous feasts ever prepared by mankind. The level of sumptuous varies at each individual household, however 

every household tries to make as grand as possible as they can. The feast served on plantain leaves have more 

than 13 to 15 curries apart from other regular items. In hotels and temples, number of curries and dishes can go up 

to 30 for the feast. Whatever may happen no malayalee will miss the Grand ona-sadya. There is a saying in 

Malayalam that "Kanam Vittum Onam Unnanam" which means "We should have the Thiruvonam lunch even if we 

have to sell all our properties" which shows the importance of the grand lunch on the Thiruvonam day.

A fabulous display of fireworks turns the capital Thiruvananthapuram and Kochi into a veritable fairyland. 

Sumptuous feasts are prepared in every household. Even the poorest of the poor manage to find something for 

himself to celebrate the national festival in his own humble way.

The afternoon is marked with various traditional Onam games normally seen common in rural areas and those 

organized by resident associations, clubs etc. in large cities.

Post Onam celebrations

OPPANA

Oppana  is a popular form of social entertainment among the Mappila community of Kerala, south India, prevalent all over, especially in the northern district of Malappuram.

 Oppana, a dance form among the Mappila community

Oppana is generally presented by females, numbering about fifteen including musicians, on a wedding day. The bride dressed in all finery, covered with gold ornaments and her palms and feet adorned with an intricately woven pattern of mylanchi (henna), sits amidst the circle of dancers. She is the chief spectator sitting on a peetam (chair), around which the singing and dancing take place. While they sing, they clap their hands rhythmically and move around the bride using simple steps. Two or three girls begin the songs and the rest join in chorus.

Sometime Oppana is also presented by males to entertain the bridegroom. It usually takes place just before the bridegroom leaves for the bride's residence where the Nikah (marriage) takes place or at the time he enters the Maniyara.

Harmonium, Tabla, Ganjira and Elathaalam are the musical instruments employed for this performance. Only the Mappilapaattu will be sung on the occasion.

The word Oppana may have been derived from an Arabic form Afna. There are two types of Oppana, one is Oppana chayal another is Oppana murukkam. When Oppana chayal is performed, they do not clap their hands. If it begins with Chayal it would also end with Chayal only

MALAYALA CINEMA

logo of amma
the malayalam cinema association

The cinema of Kerala or Malayalam cinema refers to the film industry in the Indian state of Kerala, which makes

films in the Malayalam language. Malayalam movies typically portray social or family issues and are considered

more realistic and highbrow than Bollywood movies. In spite of the movies' relatively low budgets, Malayalam

cinema has pioneered various technical, thematic and production techniques among films in India. The first 3-D film

produced in India, My Dear Kuttichathan (1984), was made in Malayalam. The first CinemaScope film produced in

South India was the Malayalam film Thacholi Ambu (1978).

At first (beginning in the 1920s), the Malayalam film industry was based in Thiruvananthapuram. Later, the industry

shifted to Chennai, which then was the capital of the southern Indian film industry. In the 2000s, the Malayalam film

industry returned to Kerala and established itself in Kochi.

Many Malayalam films have been remade in other languages, including Garam Masala, Kyon Ki, Billu, Bhool

Bhulaiyaa, Hera Pheri, Chup Chup Ke (in Hindi), Dindigul Sarathy, Sundara Travels, Friends, Ninaithale Inikkum,

Perazhagan, Kuselan, Chandramukhi (in Tamil), Classmates, Chandralekha (in Telugu), Aaptamitra, Manmatha, and

Bellary Naga (in Kannada).

History of Malayalam cinema

The early era (1907-1950s)

Cinemas before the first film

The first cinema hall in Kerala, with a manually operated film projector, was opened in Trichur by K. W. Joseph in

1907. In 1913, the first electrically operated film projector was established (in Trichur again) by Jose Kattukkaran

and was called the "Jose Electrical Bioscope". Soon such cinema halls were established in other major cities of

jayan in anjadi movie

Kerala. In the early days, Tamil, Hindi and English films were exhibited in these theatres.

The first film (silent movie, 1928)

The first film to be made in Malayalam was Vigathakumaran, which was released in 1930. It was produced and

directed by J. C. Daniel, and for this work he is credited as the father of Malayalam cinema. The shooting of the first

Malayalam film, the silent movie Vigathakumaran, was started in 1928; the film was released in Trivandrum Capitol

Theatre on November 7, 1930. It was produced and directed by J. C. Daniel, a businessman with no prior film

experience. Daniel founded the first film studio, 'The Travancore National Pictures Limited' in Kerala.

The second film, Marthanda Varma, based on a novel by C. V. Raman Pillai, was produced by R. Sundar Raj in 1933.

However, it became stranded in a legal battle over copyright issues[clarification needed] and the court ordered the

confiscation of the prints. As a result, the second movie's exhibition lasted only four days.

The first talkie (1938)

The first talkie in Malayalam was Balan, released in 1938. It was directed by S. Nottani with a screenplay and

songs written by Muthukulam Raghavan Pillai. It was produced at Chennai (then Madras) in the neighbouring state

of Tamil Nadu. Malayalam films continued to be made mainly by Tamil producers until 1947, when the first major

film studio, Udaya, was established in Kerala, in Alleppey (Alappuzha) by Kunchacko, who earned fame as a film

producer and director.

1950s

Malayalam cinema has always taken its themes from relevant social issues and has been interwoven with material

mohanlal

from literature, drama, and politics since its inception. One such film, Jeevitha Nouka (1951), was a musical drama

which spoke about the problems in a joint family. This movie became very popular and was probably the first "super

hit" of Malayalam cinema. However, this movie's success was bittersweet. Although its success accelerated

Malayalam movie-making, films that were produced after Jeevitha Nouka closely mimicked its structure, hoping to

find some sort of "success formula", thus hampering creativity for a long time. Nevertheless, this time was hailed

as "the period of giants" in Malayalam film industry, due to the work of film stars Sathyan and Prem Nazir.

Sathyan

Prem Nazir

In 1954, the film Neelakuyil captured national interest by winning the President's silver medal. Scripted by the

well-known Malayalam novelist Uroob, and directed by P. Bhaskaran and Ramu Kariat, it is often considered the

first authentic Malayali film. Another notable production was Newspaper Boy (1955), which contained elements of

Italian neorealism. This film is notable as the product of a group of amateur college filmmakers. It told the story of

a printing press employee and his family being stricken with extreme poverty.

Further information: Malayalam films: 1928–1959

1960s

Ramu Kariat, one of the directors of Neelakkuyil (the other was P. Bhaskaran), went on to become a celebrated

director in the 1960s and 1970s. P. Bhaskaran also directed a few acclaimed films in the 1960s. The cameraman of

Neelakkuyil, A. Vincent, also became a noted director of the 1960s and 1970s. Notable films of this decade include

Odayil Ninnu, Bhargavi Nilayam (1964), Chemmeen (1965), Murappennu (1965) and Iruttinte Athmavu (1966). The

era of colour films came to Malayalam cinema with its first colour film, Kandam Bacha Coat (1961). Chemmeen

(1965), directed by Ramu Kariat and based on a story by Thakazhi Sivasankara Pillai, went on to become

immensely popular, and became the first Malayalam film to win the National Film Award for Best Film.

During the 1950s, 1960s and 1970s, Kunchacko made significant contributions to Malayalam cinema, both as a

producer and as director of some notable Malayalam movies. He started Udaya Studios in Alleppey (Alappuzha) in

1947, reducing the travel to Madras (Chennai) for film crew and actors. This boosted Malayalam film production in

Kerala.

Further information: Malayalam films of the 1960s

1970s

The 70s saw the emergence of a new wave of cinema in Malayalam. The growth of the film society movement in

Kerala introduced the works of the French and Italian New Wave directors to the discerning Malayali film

enthusiasts. Adoor Gopalakrishnan's first film, Swayamvaram (1972), brought Malayalam cinema to the

international film arena. In 1973 M. T. Vasudevan Nair who was by then recognized as an important author in

Malayalam, directed his first film Nirmalyam, which won the National Film Award for Best Feature Film. G.

Aravindan followed Adoor's lead with his Uttarayanam in 1974. K. P. Kumaran's Adhithi (1974) was another film

which was acclaimed by the critics. Cinematographers who won the National Award for their work on Malayalam

films in the 1970s were Mankada Ravi Varma for Swayamvaram (1972), P. S. Nivas for Mohiniyattam (1977), and

Shaji N. Karun for Thamp (1979). John Abraham, K. R. Mohanan, K. G. George, and G. S. Panikkar were products of

the Pune Film Institute who made significant contributions.

During the late 1970s, some young artists started seeing Malayalam cinema as a medium of expression and thought

of it as a tool to revitalize society. A noted director, Aravindan was famous in Kerala as a cartoonist before he

started making films. His important movies include Kanchana Seeta (1977), Thampu (1978), Kummatty (1979),

Chidambaram (1985), Oridathu (1986), and Vasthuhara (1990). Also, commercial cinema in this period saw several

workerclass themed films which mostly had M. G. Soman and Sukumaran in the lead followed by the emergence of

a new genre of pure action themed films, in a movement led by action star Jayan who is usually considered as the

first genuine commercial superstar of malayalam cinema. But this was shortlived, and almost ended with Jayan's

untimely death. Neverthless, it paved way for different films and future actors who proved their talents in both

commercial and art genres, the most famous of them being Mohanlal and Mammooty.

Further information: Malayalam films of the 1970s

1980s

Adoor Gopalakrishnan made Elippathayam in 1981. This movie was widely acclaimed and won the British Film

Institute award. His other movies include Mukhamukham (1984), Anantharam (1987) Mathilukal (1989), Vidheyan

(1994), Kathapurushan (1995), and Nizhalkuthu (2003), I.V. Sasi the path breaker who has directed more than 131

odd films over a span of 34 years made "Kanamarayathu" (1984), Padmarajan made his early works in this period

including the movie Koodevide? (1983).

P. A. Backer and Bharathan are other names worth mentioning.

[edit]Golden age of Malayalam cinema

Most critics and audiences consider the period from the late 1980s to early 1990s as the golden age of

Malayalam cinema. The Malayalam cinema of this period was characterised by detailed screenplays dealing with

everyday life with a lucid narration of plot intermingling with humour and melancholy. This was aided by brilliant

cinematography and lighting as in motion pictures like Perumthachan (1990), directed by Ajayan with Santosh Sivan

as the cinematographer. These films are also remembered for their warm background music by composers like

Johnson, as in the motion picture Namukku Parkkan Munthiri Thoppukal (1986) by Padmarajan. The golden age saw

big actors like Mammootty, Mohanlal, etc.

Many of the movies released during this time narrowed the gap between art cinema and commercial cinema in the

Malayalam film industry, as in Mrigaya starring Mammootty (1989, directed by I.V. Sasi and written by Lohithadas),

Oru Vadakkan Veeragatha (1989), starring Mammootty,Kireedam (1989, directed by Sibi Malayil, starring Mohanlal

and written by Lohithadas), Mathilukal starring Mammootty (1989, directed by Adoor Gopalakrishnan), Amaram

starring Mammootty (1991, directed by Bharathan), Kakkothikkavile Appooppan Thaadikal (1988, directed by

Kamal) and Sargam (1992, directed by Hariharan).

The period had an abundance of movies rich in creative humour from directors like Priyadarshan, Sathyan

Anthikkad and Kamal. The era also saw well-crafted comedy by the Duo Siddique-Lal's, Ramji Rao Speaking (1989)

and In Harihar Nagar (1990). The internationally acclaimed Piravi (1989) by Shaji N. Karun was the first Malayalam

film to win the Caméra d'Or-Mention at the Cannes Film Festival. Other notable contributions of this period include

His Highness Abdullah (1990) directed by Sibi Malayil, Abhayam (1991) directed by Santosh Sivan, and the motion

picture Daisy (1988) an expressive depiction of separation and longing set in a boarding school, directed by Prathap

K. Pothan.

Further information: Malayalam films of the 1980s

1990s

Some examples are Mathilukal (1990) directed by Adoor Gopalakrishnan, Bharatham (1991) by Sibi Malayil,

Ulladakkam (1991) directed by Kamal, Kilukkam (1991) directed by Priyadarshan, Kamaladalam (1992) by Sibi

Malayil, Vidheyan (1993) by Adoor Gopalakrishnan, Devaasuram (1993) by I. V. Sasi, Manichithrathazhu (1993) by

Fazil, Ponthan Mada (1993) by T. V. Chandran, and Desadanam (1997) by Jayaraaj. Swaham (1994), directed by

Shaji N. Karun, was the second Malayalam film entry in the Cannes International Film Festival, where it was a

nominee for the Palme d'Or. Murali Nair's Marana Simhasanam later won the Caméra d'Or at the 1999 Cannes Film

Festival. Guru (1997) directed by Rajiv Anchal was chosen as India's official entry to the Oscars to be considered

for nomination in the Best Foreign Film category for that year, making it the first and last film in Malayalam, so far,

to be chosen for Oscar nomination.

Further information: Malayalam films of the 1990s

Early-mid 2000s

Slapstick comedy was the predominant theme in the films of this era. C.I.D. Moosa (2003) by Johny Antony, Meesa

Madhavan (2002) by Lal Jose and Kunjikoonan (2002) directed by Sasi Shanker are examples. Sequels to a number

of successful films were made. These include blockbuster hit Raavanaprabhu (Devaasuram) and the sequels to the

80s hit movie Oru CBI Diarykurippu, named Sethurama Iyer CBI (2004) and Nerariyan CBI (2005), which were well

received. Many movies during the early 2000s were of low quality. Adding to this crisis, a parallel culture of

adult-content movies named "Shakeela films" emerged to be the best grossers for more than a year. Malayalam

cinema saw a rare dearth of talent. At the same time, Tamil movies saw a surge of new talent in scriptwriters,

directors and actors. This resulted in increased popularity of Tamil and Hindi movies in Kerala. Several film

theatres were closed in rural Kerala and were converted to marriage halls. But by the last of year 2003, it was a

happy season for the industry.

Further information: Malayalam films of the 2000s

Late 2000s

Malayalam movies saw a comeback in 2005. New directors such as Lal Jose, Roshan Andrews, Blessy and Anwar

Rasheed brought back original scripts to Malayalam movies. Notable movies of this era are Kaazhcha, Udayananu

Tharam, Notebook, Classmates, Keerthi Chakra, Vinodayathra, Rajamanikyam, Arabikkatha, and Kadha

Parayumbol. About half of Malayalam movies are remade into other languages. This era has seen new promising

actors like Dileep, Kunchako Boban, Prithviraj, Jayasurya, and Indrajith, along with stalwarts Mammooty, Mohanlal,

Suresh Gopi and Jayaram.

Pioneered film-making techniques

Malayalam films cater to people living in the South Indian state of Kerala and emigrants from it. The total

population of Malayalees, as they are called, is around 40 million, out of which about 60% can be estimated as

filmgoing.[citation needed] Most Malayalam films are made with a budget ranging from Rs 2 crore to 10 crores

(approximately US$0.2 million to 1 million).[citation needed] Since 2007, Malayalam cinema has seen an increasing

jayan

number of big-budget movies like Big B, Sagar alias Jacky, Red Chillies, Love In Singapore, Aakasha Gopuram,

Twenty:20 and Pazhassi Raja.

Malayalam cinema has pioneered various technical, thematic and production techniques among films in India and

South India. Such films include:

Marthanda Varma (1933): The first Indian historical drama film. The film was based on the life of Marthanda Varma,

the Maharajah of the Indian princely state of Travancore in the mid 18th century. Marthanda Varma was film

adaptation of a novel in the same name by C. V. Raman Pillai, making it one of the first Indian film adaptations from

literature other than the puranas.

Newspaper Boy (1955): India's first neorealistic film. The film drew its inspiration from Italian neorealism and was

released a few months before Satyajit Ray's debut film Pather Panchali, another neo-realistic film.

Thacholi Ambu (1978): South India's first CinemaScope film.

Padayottam (1982): India's first indigenously produced 70 mm film.

My Dear Kuttichathan (1984): India's first 3-D film.

Amma Ariyan (1986): The first film made in India with money collected from the public. The film was produced by

Odessa Collective, founded by the director of the film John Abraham and friends. The fund was raised by collecting

donations and screening Charlie Chaplin's film The Kid.

O'Faby (1993): India's first live-action/animation hybrid film.

Moonnamathoral (2006): First Indian film to be shot and distributed in digital format.

Notable personalities

Directors

Malayalam cinema boasts many brilliant film directors, starting with J. C. Daniel, the director and producer of the

first Malayalam film, Vigathakumaran (1928). Unlike other Indian films at that time, most of which were films based

on the puranas, he chose to base his film on a social theme. Though the film failed commercially, he paved way

for the Malayalam film industry and is widely considered the father of Malayalam cinema. Till the 1950s, Malayalam

film didn't see many talented film directors. The milestone film Neelakkuyil (1954), directed by Ramu Karyat and P.

Bhaskaran, shed a lot of limelight over its directors. Ramu Karyat went on to become a celebrated director in the

1960s and 1970s. P. Bhaskaran also directed a few acclaimed films in the 1960s. The cameraman of Neelakkuyil, A.

Vincent, also became a noted director of the 1960s and 1970s. Another noted director of the 1950s was P.

Ramadas, the director of the neorealistic film Newspaper Boy (1955).

In the 1970s, the Malayalam film industry saw the rise of film societies. It triggered a new genre of films known as

"parallel cinema". The main driving forces of the movement, who gave priority to serious cinema, were Adoor

Gopalakrishnan and G. Aravindan. People like John Abraham and P. A. Backer gave a new dimension to Malayalam

cinema through their political themes. The later 1970s witnessed the emergence of another stream of Malayalam

films, known as "middle-stream cinema", which seamlessly integrated the seriousness of the parallel cinema and

the popularity of the mainstream cinema. Most of the films belonging to this stream were directed by I. V. Sasi, K.

G. George, Bharathan and Padmarajan.

In the late 1980s and early 1990s, a period widely regarded as the Golden Age of Malayalam cinema, a new array of

directors joined the stalwarts who had already made a mark in the industry. The Golden Age saw the narrowing of

the gap between the different streams of the industry. Directors like I. V. Sasi, Fazil, Joshy, Kamal, Sibi Malayil,

Hariharan, Priyadarshan, Sathyan Anthikkad, K. Madhu and Siddique-Lal contributed heavily in the Golden Age.

Then there were maverick filmmakers like John Abraham, Balachandra Menon and Sreenivasan who contributed

their part as well.

The 2000s witnessed the decline of quality of Malayalam films. Many directors who excelled in the Golden Age

struggled as many of their films continuously failed critically and commercially. As a result the gap between

parallel cinema (now known as art cinema) and mainstream cinema (now known as commercial cinema) widened.

The 2000s also saw a commercial film formula being created in line with Tamil and Bollywood films. Directors like

Shaji Kailas, Rafi Mecartin and Anwar Rasheed directed blockbusters which had few artistic merits to boast of.

Despite the overall decline, some directors stood apart and made quality cinema. Shaji N. Karun, T. V. Chandran,

Lenin Rajendran, T. K. Rajeev Kumar, Shyama Prasad and Jayaraj made films that won laurels. Notable directors

who debuted in this time include Blessy, Lal Jose, R. Sharath,Renjith and Roshan Andrews.

Malayalam film directors have made their mark in the national level as well. Out of the 40 National Film Awards for

Best Director given away till 2007, Malayalam directors have pocketed 12, trailed only by Bengali (14 awards). The

directors who have won the prestigious award are Adoor Gopalakrishnan (1973, 1985, 1988, 1990, 2007), G.

Aravindan (1978, 1979, 1987), Shaji N. Karun (1989), T.V. Chandran (1994), Jayaraj (1998) and Rajivnath (1999).

There are several recipients of the Special Jury Award as well: Mankada Ravi Varma (1984), John Abraham (1987),

Shaji N. Karun (1995) and Pradeep Nair (2005).

Actors

Lead actors

A lead actor is called as a superstar when that person has become a driving force at the box office. Just like other

Indian film industries, there are no clear-cut guidelines for decorating an actor as superstar, and this designation is

almost always bestowed by the media after an actor proves to be a champion at the box office.

Thikkurissy Sukumaran Nair was the first person in the Malayalam film history to be called a superstar, following

the tremendous success of his second film Jeevithanauka (1951), which is touted as the first superhit of Malayalam

cinema. Later Prem Nazir, Sathyan, Madhu, Jayan, M. G. Soman, and Sukumaran came to be called superstars.

Prem Nazir and Sathyan formed a bipolar industry in which a considerable number of films made in Malayalam in

the later 1960s and almost the whole of 1970s starred one of them, until the rise of Jayan. Curiously, the trend was

continued in the next era as well, with Mammootty & Mohanlal being established as superstars in the early 1980s.

Suresh Gopiemerged as a superstar by mid 1990s, following a series of successful movies having police/political

themes, most notably Commissioner, directed by Shaji Kailas. Other actors who are generally considered as

superstars are Jayaram and Dileep.

As with most of the other Indian film industries, the Malayalam film industry is driven by male actors. None of the

female actors who have been part of the industry have come to be known as superstars, though there have been

immensely popular stars like Miss Kumari, Sharada, Sheela, Shobhana, Urvashi, Sujatha, Vidhubala, Manju Warrier,

Samyuktha Varma, Kavya Madhavan and Meera Jasmine.

Many actors have brought laurels to Malayalam films with their performances. As of 2007, Malayalam film actors

have won 11 out of the 42 National Film Awards for Best Actor ever given away, including two occasions of double

suresh gopi

awardees. 11 is the second highest number of award wins by a film industry trailed only by Hindi (17 awards). The

Malayalam film actors who have won the award are P. J. Antony (1974), Gopi (1978), Balan K. Nair (1981), Premji

(1988), Mammootty (1989, 1993, 1999), Mohanlal (1991, 2000), , Suresh Gopi (1998), Balachandra Menon (1998) and

Murali (2002). Additionally, Malayalam film actors have won several Special Jury Awards as well: Mohanlal (1990),

Kalabhavan Mani (2000), Nedumudi Venu (2004) and Thilakan (2007).

Malayalam female actors are not far behind. As of 2007, they have won the National Film Award for Best Actress 5

mohanlal

times. The winners are Sharada (1969, 1973, 1979), Monisha (1987), Shobana (1994, 2002), Meera Jasmine (2004)

and Priyamani (2007). The actresses to win the Special Jury Award are Jomol (1998), Manju Warrier (1999) and

Jyothirmayi (2003). Sharada did win another award in 1979 for the Telugu film Nimajjan; so did Shobana in 2002 for

the English film Mitr, My Friend.

Supporting actors

In the early times of Malayalam cinema, supporting roles, though mostly donned by established theatre artists, did

not have any noted supporting actors. In the 1960s and 1970s several supporting actors like Kottarakkara

Sreedharan Nair, Adoor Bhasi, Bahadoor, Balan K. Nair, Adoor Bhavani and Aranmula Ponnamma came into the

scene. Most of them went on to have lifelong careers. In the 1980s and 1990s many more joined them, notably

Thilakan, Nedumudi Venu, Jagathy Sreekumar, Biju Menon, Vijayaraghavan, Innocent, Siddique, Jagadish,

Kuthiravattam Pappu, Manoj K. Jayan, Rajan P. Dev, Sukumari, K.P.A.C. Lalitha and Bindu Panicker. Some of them

had short careers with title roles as well.

Despite the presence of a number of talented actors, Malayalam films have only won 2 out of the 24 National Film

Awards for Best Supporting Actor so far given away, as of 2007. Thilakan (1988) and Nedumudi Venu (1991) are the

only actors to win the award. The same is not the case with female actors. They have won 6 out the 24 National

Film Awards for Best Supporting Actress given away, trailed only by Hindi (10 awards). The winners are K.P.A.C.

Lalitha (1991, 2001), Santha Devi (1992), Aranmula Ponnamma (1996), Sheela (2005) and Urvashi (2006).

Film music

Film music, which refers to playback singing in the context of Indian music, forms the most important canon of

popular music in India. The film music of Kerala in particular is the most popular form of music in the state.

mohanlal

Before Malayalam cinema and Malayalam film music developed, the Keralites eagerly followed Tamil and Hindi film

songs, and that habit has stayed with them till now. The history of Malayalam film songs begins with the 1948 film

Nirmala. The film's music director was P. S. Divakar, and the songs were sung by P. Leela, T. K. Govinda Rao,

Vasudeva Kurup, C. K. Raghavan, Sarojini Menon and Vimala B. Varma, who is credited as the first playback singer

of Malayalam cinema.

The main trend in the early years was to use the tune of hit Hindi or Tamil songs in Malayalam songs. This trend

changed in the early 1950s with the arrival of a number of poets and musicians to the Malayalam music scene.

People who stormed into the Malayalam film music industry in the 1950s include musicians like V. Dakshinamurthy

(1950), K. Raghavan (1954), G. Devarajan (1955) and M.S. Babu Raj (1957) and lyricists like P. Bhaskaran (1950), O.

N. V. Kurup (1955) and Vayalar Rama Varma (1956). They are attributed with shaping Malayalam film music stream

and giving it its own identity.Major playback singers of that time were Kamukara Purushothaman, K. P.

Udayabhanu, A. M. Raja, P. Leela, Santha P. Nair, P. Susheela and S. Janaki. Many of this singers like A. M. Raja, P.

Susheela and Janaki were not Malayalis and their pronunciation was not perfect. Despite that, these singers got

high popularity throughout Kerala. In the later years many non-Malayalis like Manna Dey, Talat Mahmood, Lata

Mangeshkar, Asha Bhosle and S. P. Balasubrahmanyam sang for Malayalam films. This trend was also found among

music directors to an extent, with outside musicians like Naushad, Usha Khanna, Bombay Ravi, Bappi Lahiri,

Laxmikant-Pyarelal, Salil Chowdhury, Ilaya Raja, Vishal Bharadwaj and A. R. Rahman scoring music for Malayalam

films. This can be attributed to the fact that film music in South India had a parallel growth pattern with so many

instances of cross-industry contributions.

K. J. Yesudas, who debuted in 1961, virtually revolutionised the Malayalam film music industry and became the

most popular Malayalam singer ever. He became equally popular with classical music audience and people who

patronised film music.He along with P. Jayachandran gave a major facelift to Malayalam playback singing in

the 1960s and 1970s. Malayalam film music also received heavy contributions from composers and musicians like

deleep

Johnson, M. G. Radhakrishnan, Raveendran, S. P. Venkatesh and Ouseppachan, lyricists like Sreekumaran Thampi,

Yusuf Ali Kechery, and Kaithaprom Damodaran Namboodiri, and singers like M. G. Sreekumar, G. Venugopal, K. S.

Chitra and Sujatha Mohan. A notable aspect in the later years was the extensive of classical carnatic music in

many film songs of the later 1980s and early 1990s. Interestingly, that particular period is also considered as the

peak time for Malayalam cinema itself and is quite widely known as the Golden Age of Malayalam cinema, a

period in which the difference between art films and popular films was least felt. Similarly, classical carnatic music

was heavily used in several popular film songs, most notably those in films like Chithram (1988), His Highness

Abdullah (1990), Bharatham (1991), Sargam (1992) and Sopanam (1993). Vidyasagar was the leading music

composer in Malayalam films, from the late nineties to the early 2000s.

At present, the major players in the scene are young telents like musicians Rahul Raj, Deepak Dev, Alphonse,

Jassie Gift and Biji Pal, lyricists Gireesh Puthanchery, Vayalar Sarath and Anil Panachooran, and singers Madhu

Balakrishnan, Afsal, Manjari and Jyotsna, along with stalwarts in the field.

Young composers like Rahul Raj and Gopi Sundar are not only known for their catchy tunes, but also known for

bringing in a lot of electronics, digital sound and a variety of genres in Malayalam film songs.

The National Award-winning music directors of Malayalam cinema are Johnson (1994, 1995), Bombay Ravi (1995)

and Ouseppachan (2008). The 1995 National Award that Johnson received for the film score of Sukrutham (1994)

was the only instance in the history of the award in which the awardee composed the film soundtrack rather than

its songs. He shared that award with Bombay Ravi, who received the award for composing songs for the same film.

Ravindran also received a Special Jury Award in 1992 for composing songs for the film Bharatham. The lyricists

who have won the National Award are Vayalar Ramavarma (1973), O. N. V. Kurup (1989) and Yusuf Ali Kechery

(2001). The male singers who have received the National Award are K. J. Yesudas (1973, 1974, 1988, 1992, 1994),

P. Jayachandran (1986) and M. G. Sreekumar (1991, 2000). Yesudas has won two more National Awards for singing

in Hindi (1977) and Telugu (1983) films, which makes him the person who has won the most National Film Awards

for Best Male Playback Singer with seven awards, closely followed by S. P. Balasubrahmanyam with six awards.

The female singers who have won the award are S. Janaki (1981) and K. S. Chitra (1987, 1989). Chitra had also won

the award for Tamil (1986, 1997, 2005) and Hindi (1998) film songs, which makes her the person with the most

National Film Awards for Best Female Playback Singer with six awards, closely followed by P. Susheela with five

awards.

Landmark films

The films in this list are those which have influenced the growth, trends, fame and acclaim of Malayalam cinema

through its 80-year-long history. Quality is not a criterion for inclusion of films in this list.

Movie Artists.

2009 Pazhassi Raja Hariharan Mammootty, Sarath Kumar, Kanika The most expensive Malayalam

film, with a reported budget of 27 crores. It was also the first Malayalam film to get a home video release in Blu-ray

format.

Kerala State Film Awards

Main article: Kerala State Film Awards

The Kerala State Film Awards are the most prestigious film awards for a motion picture made in the Malayalam

language. The awards have been bestowed by Kerala State Chalachitra Academy since 1998 on behalf of the

Department of Cultural Affairs of the Government of Kerala. The awards were started in the year 1969. The

awardees are decided by an independent jury formed by the academy and the Department of Cultural Affairs. The

jury usually consists of eminent personalities from the film field. For the awards for literature on cinema a separate

jury is formed. The academy annually invites films for the award and the jury analyses the films that are submitted

before deciding the winners. The awards intends to promote films with artistic values and encourage artistes and

technicians.

International Film Festival of Kerala

Main article: International Film Festival of Kerala

The International Film Festival of Kerala (IFFK) is a film festival held annually in Thiruvananthapuram, the capital

city of Kerala. This film festival was started in 1996 and is organised by Kerala State Chalachitra Academy on

behalf of the Department of Cultural Affairs of the State Government. The festival is held in November/December

every year and is acknowledged as one of the leading film festivals in India.

Organisations

Association of Malayalam Movie Artists

Main article: Association of Malayalam Movie Artists

The Association of Malayalam Movie Artists (AMMA) is an organisation formed by artists of Malayalam cinema to

safeguard their interests. It aims to act against piracy, to safeguard the interests of member actors and actresses,

thilakan

and to serve as a common forum to raise concerns and address issues. The activities of AMMA include

endowments, insurance schemes, and committees on wages and benefits on revision, fund for research, pensions,

education loans for their children etc. for the members. The organization ventured into film production in 2008 with

Twenty:20 to raise funds for its activities.

AMMA was involved in the film industry deadlock of 2004 and the alleged denial of work to senior actor Thilakan