nirmalyam movie review in malayalam

50 Years of Nirmalyam (1973): Timeless, Introspective, and Radical

50 Years of Nirmalyam (1973): Most recently, the Malayalam film industry witnessed the pan-Indian scale commercial success of Vishnu Sasi Shankar’s Malikappuram (2022). Despite not having any of the industry’s A-list actors, a huge budget, or even an ambitious plot, Malikapuram has reportedly crossed the 100 crore benchmark, a feat achieved by only a select few Malayalam films. It has become public knowledge by now that the success of the film can largely be attributed to its religious iconography, as the plot centres around the pilgrimage of two children to the holy shrine of Lord Ayyappa, Sabarimala. It is ironic that a film that hinges its success on its religious sentiments and the wider debates surrounding the alignment of Hinduism with the national identity comes 50 years after one of Indian cinema’s most scathing critiques of faith: M T Vasudevan Nair’s Nirmalyam (1973).

In a letter to Rishabh Shetty appreciating the artistic merits of Kantara (2022), Kamal Hassan referred to the many cinematic inspirations that Kantara drew from subconsciously and presented Nirmalyam as a prime example. Indeed, one observes shades of the Panjurli embodiment of the Bhoota Kola performer by Rishabh Shetty in the seeming possession of the Goddess in Velichappadu by PJ Antony. That being the case, one wonders whether a film like Nirmalyam , with its condescension of faith and climactic belittlement, would be able to evade the hounds of censorship (both legal and public) in India today. At a time when a Muslim man holding a saffron bikini-clad woman is projected as problematic, how would today’s audience take a Christian actor playing a religious oracle spitting blood at a Goddess’ totem?

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A film very much ahead of its time for its ideological subtexts on the intersections between morality, duty, and faith, unpacking Nirmalyam presents a tedious task. However, this essay seeks not to examine the role of religion or its significance in Vasudevan’s magnum opus but rather the contrary. The 1970s was a decade of great transition in Kerala. While the nation was consumed with the larger complication of the Emergency during the mid-70s, Kerala faced massive unemployment with its inability to industrialise, resulting in the mass exodus of its youth from rural to urban and later international settings, as exemplified by the mass migration to Gulf countries. This essay explores Kerala’s changing social structure during the early 70s, which paved the way for these drastic changes by analysing Nirmalyam as a historiographic, communicative, and political tool.

Winner of the 1973 National Award for Best Film, Nirmalyam ’s plot centers around a village’s diminishing interest in faith and the desperate attempt of Velichappadu, the temple oracle, to bring faith back into prominence. Parallel to the central plot, the film presents narratives on the changing social structure of Kerala during the early 70s, with the growing appeal of communism, increasing transportation and mobility, depleting interest in cultural art forms, widespread poverty, and mass unemployment.

A Brief History

Until the formation of its first government, Kerala was predominantly ruled over by three princely states; Cochin, Travancore, and Malabar, all embroiled in feudalism. However, post-independence, Kerala witnessed its first democratically elected ministry under the communist leadership of EMS Namboothiripad. This was also the second-ever elected communist government in the world. Namboothiripad’s government introduced land reform and education bills, which redistributed massive acres of land from upper-class landowners (Jenmis) to the landless peasants (Kudiyanmar) and attempted to standardise private education, making it more accessible.

The increasing socialist restructuring of the state resulted in intervention from the central government under Prime Minister Jawaharlal Nehru in 1959, saturating the state government and enforcing the President’s rule. The growth of communism in Kerala and the spread of socialist ideals even caught the attention of the USA, with claims that the CIA played a role in Nehru’s intervention of 1959 [1]. However, communism continued to grow in the state and further resonated with the masses through popular plays such as Thoppil Bhasi’s Ningalenne Communistaki (1970). During the late 1960s and 1970s, Kerala was governed by the United Front, a coalition between the five political parties that skewed together ideals of communism (through the CPI) and the Indian congress party, which presented a perverted political philosophy not readily accessible by Kerala.

Reimagining Power

The ‘Kerala’ depicted in Nirmalyam reverberates the ethos of early 1900s European modernism, with morality no longer being based on religion and scientific advancement presenting a more industrialised commercial society. The increasing literacy rate due to the education bills under the communist government played a huge role in this. There was an air of alienation and pessimism in everyday interaction.

Contextualizing both the feudal history of the state with its caste and class hierarchies and prejudice and the redistribution of power via the redistribution of land, wealth, and education, Nirmalyam presents alienation as an evolutionary outcome. It stems from both the anxiety arising from an inability to comprehend the rejection of traditional faith and art forms and confusion in anchoring the individual’s role in the growing industrial state. For example, there are those like the village landlord, addressed as Valiyathamburan, who is irked at having lost his land and revenue due to land reform bills under the communist government.

However, he recognises industrialised enterprises as the future and reinvests in the motor vehicle business concerning buses and tyres. Additionally, he guides foreign tourists. Another example would be the former priest of the temple who resigned, stating the lack of devotees. He argues he would earn more if he went into agriculture or masonry than stick to reciting hymns. While these seem like working-class professions, he ends up opening a tea shack, seemingly becoming a petit bourgeois shop owner.

While transitioning into new wealth-creation industries, these privileged few retain their traditional titles and upper-caste etiquette. Despite arguing against Velichappadu that he gains nothing from assisting the temple, Valiyathamburan donates 101 Rs (a respectable sum in 1970s India) and an elephant for the temple festival, thereby maintaining a connection with the institute of religion and preserving his upper-class aristocracy. Despite his relatively low income from the tea shack, the former priest upholds his superiority through his caste by practicing untouchability.

Being a Brahmin, he refuses to serve his customers directly, fearing ‘contracting impurity through touch’ and therefore places their food beside them. Both Valiyathamburan and the former priest dip their toes in the regressive traditions of yesteryears to maintain their social standing while simultaneously transitioning into modern wealth-creation ventures. Their systemically privileged social standing as upper-caste inhabitants facilitates this transition without resistance.

Mobility & Migration

For the younger generation, like Velichappadu’s son, Appu, or the new priest, Branhmadattan Namboothiri, Kerala’s new modernity that emphasises individual merit over personal identity presents challenging ordeals. Unlike Velichappadu, who recurrently relies on alms from others and donations to the temple to feed his family, Appu seeks to be employed in more streamlined jobs beyond the contours of faith like his father. However, owing to a lack of employment opportunities, he is forced to migrate beyond the limited scope of his village. Similar is the case with Brahmadattan, who, despite being highly educated, is unable to keep up with the public service exams, which have seemingly high qualification criteria with limited availabilities, which may again owe to low employment opportunities.

Both Appu and Brahmadattan represent the anxiety of early 70s Kerala youth who, despite being educated to a minimum extent (Appu was educated till 10th grade and Brahamadattan, beyond), are unable to find employment. This may be quantified by Kerala’s inability to completely modernise from an agrarian economy to an industrialised one (something which many critics blame communism for). Both Appu and Brahmaddatan belong to families that overtly rely on faith and its preaching for daily sustenance. As literacy rates gradually increased owing to education reforms passed under the communist governments, people too distanced themselves from faith and religion and focused more on developing themselves as resources.

For Appu, “God sometimes presents itself in the form of tea, a cigarette, the food his friends give him.” While this statement shows a more nuanced understanding of God, he still reiterates that he expects God’s ultimate presentation in the appearance of a job. Both Appu and Brahmaddatan, while recognising this transition, were caught in between the fast-growing social changes and anchors that held them back to tradition; for Appu, his father’s vehement obsession that he submit himself to the Goddess, and for Brahmaddatan, his occupation as a priest. Should tradition remain at the risk of negating adaptation and growth, or should one modernise and take advantage of industrialisation?

This effectively resulted in faith and religion no longer being the cornerstones dictating morality but humans themselves. It presented a move away from communal ideologies that weighed the greater good of society to more selfish desires taking over. Appu is unable to provide for his family and gambles away his days. Brahmadattan forces himself onto Ammini, Velichappad’s daughter, to quench his sexual frustration. Village inhabitants such as Warrier’s wife, Lakshmikutty, or the Valiyathamburan are hesitant to share their resources with others.

Ultimately, the inability to change with the flow of time, coupled with a lack of resources, resulted in the mass migration of youth for jobs from rural areas to urban areas. Nirmalyam foregrounds this through the examples of Appu and Brahmaddatan, who migrate away from the village. Another example is Warrier’s son, who does not come home because the roads to the Warrier’s house are uneven and, therefore, difficult to travel. The uneven road symbolises the Warrier’s son’s resistance in returning to his traditional parental household, which was built on the backs of upper-caste feudalism, in his ‘modern’ car, the advent of science. His defiance in returning also presents the new generation’s sensibility of staying in urban spaces, which present more opportunities for commercial success.

Warrier’s son owning a motor vehicle also foregrounds and juxtaposes the transition of a generation that champions modern means of transportation that ease mobility, as opposed to a Warrier who walks in the night with a lamp. Vasudevan Nair uses wide-frame shots of rural landscapes but with limited bodies to show the emptiness of rural spaces due to mass migration. Contrastingly, there are more bodies shown in the post office (a developing hub for communication through traveling bodies) than in the temple, which is stationary (physically and ideologically). Bodies are constantly on the move for better class mobilisation and, thereby, a more materialistic existence beyond the spiritual one of religion and faith.

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Human & faith.

Even as the plot centres around themes concerning the adulation and loss of faith, Nirmalyam is less of a criticism of faith itself and more of the people who practice it. The earlier discussion on the move away from faith and emphasis on man forms part of this argument. The opening credits play looped takes off the floor drawing of the Melekaav temple Goddess. It sets the film’s religious subtext and is followed by the main conflict; the diminishing prominence of faith.

While multiple characters present nuanced case studies on human’s relationship with faith, Velichappad is the most important. Contrary to Valiyathamburan, Appu, the former priest, and Brahmadattan, who gradually distance themselves from faith, Velichappad (Translated as Light) remains an organic artefact of the state’s feudal past, blinded by faith, believing that worshipping the Goddess is the path to salvation. He sees himself as the protector of the village, the chosen one, who, under the goddess’s guidance, can bring fortune. Despite witnessing the villager’s depleting interest in faith, he refuses to accept it as absolute.

He sacrifices his familial savings for the temple, constantly preaches Appu to think of the Goddess to get a job, and prioritises favours for the temple from Valiyathamburan over alms for his family. He stubbornly believes in a higher power to provide for him despite the lack of actual productive effort on his part. When he sets out seeking alms, he is identified as a beggar and met with condescendence. However, when smallpox spreads through the land, he is the first to claim it is the Goddess’s wrath. We witness a redemption arc with him organising funds to conduct the temple festivals and web together people through faith, claiming the festival would cure smallpox and relieve them of the curse.

People project their personal truths as absolute, like Velichappad presenting himself as the medium for the Goddess. Velichappadu is committed to his occupation but ultimately feels ‘betrayed’ when losing everything in the end; Appu leaves the family, he is in debt and poor, and his wife sells her body. He is emasculated as he is unable to provide for his family and is reduced to an observer of action rather than an enforcer.

Pent-up frustration and helplessness explode into a fit of rage, ultimately spitting blood on the very Goddess’ totem that is seemingly ‘possessing’ him, effectively disowning faith before ultimately dying. Can the ‘possession’ then be read as a gimmick? If he were to do this act without being ‘possessed,’ would he not be ostracised, and therefore, did he feign possession, as he may have well done before, to spit at the idol? Thereby the film seems to not mock faith but the people who claim to be the agents of it.

Sexuality & Space

Much of the conflict, and resulting meaning, created in Nirmalyam comes from the juxtaposition between lack and excess. Valiyathamburan and Warrier own huge houses and amass wealth, whereas Velichappad and his family barely get by each day. As mentioned before, the village has wide plain fields but very limited human bodies occupying it. Similarly, there is a lack and excess of sexual desires amongst characters such as Brahmadattan and Velichappada. This also results in an interesting yet controversial reimagining of meaning allocated to the act of sex with its intersection with the space.

As mentioned before, Velichappad is emasculated because of his inability to provide for his family. He is old, uninterested in worldly pleasures, and completely committed to the Goddess. We have repeated references to the money-lender being at Velichappad’s house during his absence, foreshadowing the presence of the ‘other’ in a space mostly occupied by women (Narayani and three daughters). Brahmadattan, contrary to Velichappad, is educated, young, sexually driven, ambitious, and therefore a desirable partner.

He is vocal in his opinions and rebukes Ammini for addressing him as Adiyan (Master). He is bold enough to state that he doesn’t sleep alone at the temple and that the Goddess keeps him company. Brimming with the potential of youth yet celibate due to his profession, Brahmadattan’s sexual drive is first made visible yet suppressed in the scene where he is nervous around Warrier’s wife, Lakshmikutty. However, his sexual desire comes to the forefront with Velichappad’s daughter, Amminni.

The first time Brahmadattan and Ammini get physically intimate is in the public, yet private, space of a cave. Both are wet and sweaty from running in the rain, symbolising foreplay. The cave could be symbolic of Ammini’s genitalia, and therefore, as Brahmadattan enters it, their sexual bond is officiated. The next scene shows Unni studying under a pole. The transition from this scene to the next scene is an upwards tilting shot of the pole (which may be a phallic symbol) to the roof of the temple, transitioning to Amminni on a bed, seemingly pleasuring herself, with classical music playing in the background and visual intercuts with intimate drawing on temple walls. Thereby the temple architecture becomes the point of unison.

The temple becomes a recurring token in their sexual exploration, as the next time they have sex is within the temple itself. The short sequence hinting at intercourse rapidly cuts to a rice pot overflowing with white form and steam, symbolising ejaculation. Away from the public eyes of open spaces or the private eye of the household, the couple engages in coitus on sacred grounds laid with sculptures and carvings depicting nudity and intimacy. This scene both subverts the general affirmation of privatising sex and reaffirms sex as natural and, in fact, part of spirituality and faith.

However, one cannot but feel discomforted at the director’s problematic (mis)understanding of consent, as in many scenes, Brahmadattan forces himself onto Ammini even as she resists and repeatedly says no. While this helps better convey Brahmadattan’s sexual suppression and resulting drive, Amminni is presented to be passive despite being forced against her will, which presents a problematic depiction of consent or lack thereof.

Intercutting Memory & Dreams

Nirmalyam speaks less and shows more. While exposition is indeed inevitable in a plot-driven film, Nirmalyam uses juxtaposition editing through fade-outs and intercuts to weave poignant meaning from motion pictures rather than dialogue. The film intercuts scenes that personify the thoughts of its characters. These are in the forms of dreams, visions, fantasies, and memory . By depicting the reminiscences of the temple festivals, ethnic culture, and feudal history through memories of multiple characters, Nirmalyam contrasts the ‘lack’ in the present with the ‘excess’ of the past.

Velichappad regularly envisions fireworks, elephants, trumpets, drums, dance, and huge masses of people at the temple and mostly during festivals. The montages of these visions are quick-paced, with a crescendoing drumming conveying a concrete sense of celebration and spirituality. Similarly, Warrier, who too was a prominent landlord with multiple labourers under him, visualises sacks of grains and rice being brought by workers, him walking through them, hands on hip, chin up, condescension on his face, with a tight authority on his possession.

Ramunni Nair, the local Kathakali [2] artist, too, is a relic of the feudal past that once celebrated traditional art forms. He comments, “People no longer care about temples or  Kathakali . Bus service, rubber, and the price of tires is what they discuss. We have little art left, but even that is for foreign tourists”. With the increasing industrialisation that the film hints at, art forms such as Kathakali became less desirable as they were not profitable. The increasing defunding of the arts led to it being made exclusive and thereby privatised. Upon requesting Valiyathamburan’s money for polishing the Kathakali adornments, Ramunni is relieved of his duties because Veliyathamburan claims the art form is dead. He has a short vision of the hay days when he was a reputed artist before crumbling down, accepting the reality of art slowly dying.

Conclusion: The Significance of Nirmalyam today

This essay has presented a case study on one of the most important films in the history of India by demarcating how its central events provide a historiographic mapping of changing communal ideologies and beliefs. While Nirmalyam predicts the gradual disowning of faith in Kerala (with its agent Velichappad ultimately despising the Goddess), the reality of today is far from it. I come back to the introduction to clarify this point. Unlike Nirmalyam, which presents humane conflicts on religion, faith, sexuality, migration, and privilege through nuanced negotiations, some of the box-office successes today are those that present a unilateral and unapologetic adulation of religion, devoid of cross-examination.

While such films have always been present at the national level (although more recently, it has become more common and politically charged), a state like Kerala, with its communist ethos that heavily relies on atheism and championing of man over myth, celebrates Malikappuram , a film on pilgrimage with humanised depictions of God Ayappa, presents a perplexing situation. M. T. Vasudevan Nair may have never predicted this to be the case in Kerala. In today’s intolerance-heavy atmosphere, where one may be imprisoned or subject to public hatred and outrage if they were to show a sex scene within a temple or someone spitting at a sacred totem, one wonders what are the new boundaries of artistic expression and social criticism.

Also Read: Analysing the ‘New’ in Malayalam’s New-Generation Buddy Movies: Rani Padmini (2015) and Super Sharanya (2022)

• Radhakrishnan, M. G. (2021). “EMS, CIA and the Spymaster”. Mathrubhumi . https://english.mathrubhumi.com/columns/view-from-my-window/m-g-radhakrishnan-column-1.6091793
• Translated as ‘Story-Play’, it is a regional dance form of Kerala emphasising on storytelling through facial expression and dance.

Nirmalyam (1973) Links: IMDb , Letterboxd

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Krishnanunni P is currently pursuing his Master's degree in Film and Literature from the University of York. He is an ardent fan of Football and Dance but also prefers to spend time immersed in Literature, Philosophy, and Cinema. He is on a personal pilgrimage to tell the artistic stories of Malayalam Cinema.

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An ancient temple is neglected to ruins and is tended only by the Velichappadu 'village oracle'. When the priest goes on leave, a young man takes up his job and forms a relationship with Vel... Read all An ancient temple is neglected to ruins and is tended only by the Velichappadu 'village oracle'. When the priest goes on leave, a young man takes up his job and forms a relationship with Velichappadu's daughter. An ancient temple is neglected to ruins and is tended only by the Velichappadu 'village oracle'. When the priest goes on leave, a young man takes up his job and forms a relationship with Velichappadu's daughter.

• M.T. Vasudevan Nair
• P.J. Anthony
• Kaviyoor Ponnamma
• Kottarakkara Sridharan Nair
• 4 User reviews
• 2 Critic reviews

• Velichapad's Wife

• Ravunni Nair

• Brahmadattan Namboothiri

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• naveenchandran1
• Aug 10, 2006
• The Blessed Offering
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Nirmalayam (1973)

by Madhu Eravankara | Jun 29, 2021 | M.T. Vasudevan Nair , Malayalam | 0 comments

N irmalayam is a 1973 Malayalam film written and directed by M.T. Vasudevan Nair and has P.J. Antony and Kaviyoor Ponnamma as the main cast. An adaptation of the short story ‘Pallivalum Kalchilambum’, the film revolves around a temple and the lives of the people dependent on the temple. It went to win the National Awards for Best Feature Film and Kerala State Film Award for Best Feature Film in 1974 and is considered a landmark film in the Malayalam Cinema.

• P. J. Antony – Velichapad
• Kaviyoor Ponnamma – Narayani
• Sukumaran – Appu
• Sumithra – Ammini
• Ravi Menon – Brahmadattan Namboodari
• Kottarakkara Sreedharan Nair – Valiya Thamburan
• Sankaradi – Ravunni Nair
• Direction – M.T. Vasudevan Nair
• Story & Screenplay – M.T. Vasudevan Nair
• Music – K. Raghavan, M.B. Sreenivasan
• Cinematography – Ramachandra Babu
• Editing – Ravi

Nirmalayam (1973) Film Poster

Nirmalyam revolves around the life of a ‘Velichappadu’ in a village temple. ‘Velichappadu’ is the vernacular title bestowed on the oracle who acts as the mediator between the local deity and the devotees of a temple. The title is earned by familial inheritance and is also a means of livelihood. The custom of having a Velichappadu associated with a temple is prevalent in the Valluvanad region of Kerala. The Velichappadu is believed to get possessed by the deity during rituals and so enters a state of trance marked by frenzied dance like movements. While possessed, a Velichappadu may cut his own forehead with his sword, offering blood to the deity as a symbol of absolute faith. The devotees respect him and heed his words in trance as the deity’s edicts. The heavy sickle shaped sword, anklets and a waist belt studded with bells that form the Velichappadu’s ensemble are usually venerated heirlooms that had been passed down through generations in the family.

The protagonist of Nirmalyam is the impoverished Velichappadu of a village temple. His wife Narayani, elderly father, son Appu, elder daughter Ammini and two younger daughters are dependent on him. The meager occasional remuneration from the rundown temple is the devout Velichappadu’s sole income. Appu is in desperate pursuit of a job to save them from poverty. The temple being neglected by the owner and devotees is suffering from a lack of earnings. The priest quits his job to start a tea stall. The newly appointed priest Unni Namboothiri is another unemployed youth who aspires for a Government job. He resorts to the interim occupation as a priest due to the impoverished state of his household. One day, Velichappadu sees Appu trying to sell his revered ensemble- the sword and the anklets to a local vendor who sells bronze cookware. The infuriated Velichappadu slaps his son and ousts him. Appu leaves the village and does not return.

Unni Namboothiri and Ammini grow close. They are realistic and do not have high hopes about the future of their relationship. Yet, the duo makes the most of their courtship. Eventually, the pair parts amicably when Unni Namboothiri returns to commit to a marriage arranged by his family.

The onslaught of smallpox in the village is inferred by the residents as the wrath of the Goddess. Appeasing the Goddess by performing the expensive Kuruthi ritual is the sole remedy. The Velichappadu and the villagers request Valiya Thirumeni, the wealthy owner of the temple property to fund the ritual, but his response is not in their favor. Eventually, the devotees join hands to organize the Kuruthi.

On the day of the Kuruthi ritual, Velichappadu unexpectedly turns up at his home to fetch his ensemble. He runs into his wife Narayani and the merchant Maimunni in a compromising situation. It shocks the Velichappadu that Narayani had to repay their debts to Maimunni by offering herself. Distraught and shaken, he staggers back to the temple.

Once involved in the festivities at the temple, the Velichappadu regains his fervor and does his part as the possessed oracle. The devotees believe him to be possessed by the Goddess. At the height of his trance, he strikes his forehead repeatedly with the sword and sprints into the inner sanctum. Blood pouring down his face and still in the gusto of his frenzied movements, the Velichappadu forcefully spits a mouthful of blood at the deity’s face and collapses. When devotees become aware of the situation, the Velichappadu is no more. The climax scene of the movie shows the Velichappadu’s blood flowing down the stone floor where the previous day’s offerings to the Goddess (Nirmalyam) lay scattered.

Author’s Notes

Jnanpith laureate M.T. Vasudevan Nair (M.T) is the blessing and pride of Malayalam Cinema. A leading presence in Malayalam Literature, M.T has enriched Malayalam Cinema with exceptional screenplays. Murapennu (1965) marked his entry into Malayalam film industry as a screenplay writer, while Nirmalyam (1973) was his directorial debut. The exceptional theme and unique picturization makes Nirmalyam stand out as the masterpiece among the movies directed by M.T.

The screenplay of Nirmalyam evolved from ‘Pallivalum Kalchilambum’, a gripping short story by M.T himself. Yet, the movie does not take after the story apart from the similarity in theme, ambience and a few characters. In Nirmalyam, the plot has been enhanced and elevated into a higher realm of emotional intensity. Nirmalyam was conceived in the early seventies; a golden age marked by intellectual progress, revolutionary ideas and new schools of thought. As a directorial debut, the movie was a bold venture. The audience could also rise above the constraints of religion based fundamentalism, communal rivalry and racial bigotry to appreciate the movie in all its virtue. The scene where P.J. Antony spits at the idol of the Goddess in the sanctum sanctorum of a Hindu temple was perceived in its true sense, as the integral ingredient of a work of art. The movie is celebrated and cherished as a classic by the audience and critics alike. The culture, traditions, social and societal facets of an epoch lives through Nirmalyam.

The title of the movie is derived from the Malayalam word ‘Nirmalyam’ that denotes the remains (especially flowers) of previous day’s offerings to the deity in a Hindu temple. The fresh flowers hailed in connection with the deity on a day are discarded as withered rejects the next day. The title is a metaphor of the lives portrayed in the movie. Characters and elements in the movie hint at being rejects or misfits in the present and revel in the splendor of yesteryears. A fanatic follower of an ancient religious tradition in the age of dwindling faith, the protagonist himself is a castoff from a glorious past.

The plot and characterization of Nirmalyam present three perspectives. The viewer can delve into the depths of its nuances from the standpoints of tradition, culture, and society. Faith in the Goddess dominates the mindset of Velichappadu and the elderly of the village. They are captives of traditions and blind faith that cannot cope with the changing times. When Velichappadu’s son tries to sell the sword and anklets that are symbols of his belief, his faith is challenged. He is unable to cope with his son’s act of defiance in treating the revered family heirlooms like mere bronzeware.

Nirmalyam talks about a period when the traditional arts such as Kathakali and thullal came out of the confines of religious beliefs and temples. The profane and inevitable commercialization of traditional art forms is also revealed through Valiya Thirumeni, the lord of the manor that owns the temple. Under the pretext of being a patron of traditional arts, he comprises the art forms through made-to-order versions of Kathakali and Mohiniyattom, to serve as commodities in the tourism market. Valiya Thirumeni offers a stark contrast to the Velichappadu who selflessly upholds the beliefs and rituals that form the cultural heritage of a society.

Nirmalyam showcases an era of social and economic changes that revolutionized society. Unni Namboothiri is a victim of the land reform Act that led to many families losing their landed property. Narayani is a helpless, but practical and devoted homemaker who shoulders the responsibility of a household all alone. She forfeits her virtue to save her family from starvation. Her husband, the Velichappadu is obsessed with his faith in the temple and totally oblivious of their plight and the mounting debt. When Velichappadu accuses Narayani of betrayal, she furiously retorts that her downfall was brought about by her husband’s blind faith in the Goddess. Her statement that no Goddess ever brought her rice when her kids were starving shatters him.

Nirmalyam holds that faith seldom comes to the rescue of an ailing man. The multitude of grievances and misery in a society that practices stoic faith underlies the plot. When the temple owner and the priests had given up their faith in the Goddess for better prospects, the Velichappadu had unperturbedly worked for the uplift of the temple. The Goddess’s apathy towards the poverty and sufferings of her staunch devotee even at the lowest ebb of his life forms the highlight of the questions that Velichappadu’s wife hurls at him.

Angered at his wife’s adultery, yet aware of her plight, remorseful, and utterly helpless, his introspection shakes Velichappadu to the core. While in the throes of schooled motions proclaiming faith, his tumultuous mind undergoes a sea change. His absolute faith in the Goddess gives way to intense contempt and rage prompting him to spit at her idol with all his might. This final act of sacrilege reveals in all its intensity, the hatred and disgust he feels against the power that left him a dire fate despite a lifetime of devotion.

The visuals incorporated by M.T in Nirmalyam amount to powerful social criticism. The Velichappadu’s younger daughter- a little girl who lives at the brink of starvation is seen reading a school lesson describing affluent childhood wherein a child looks upon drinking milk just as a way to please the mother. The black humor spun by the stark contrast of the girl’s plight and her recite in the backdrop of childish innocence is painfully captivating.

P.J. Antony, the gifted performer transformed into the Velichappadu on screen. An actor with extensive experience in theatre, he portrayed the unique character with apparent ease. His role in Nirmalyam earned him the Bharath Award in 1974. He is the first actor in Malayalam cinema to receive this honor. P.J. Antony’s portrayal of Velichappadu is timelessly lauded as a benchmark.

Image Left: P.J. Anthony as Velichapad in Nirmalayam (1973). Source: NFAI

Nirmalyam bagged the National Film Award for Best Feature Film in 1973. P.J. Antony received the National Film Award for Best Actor for his outstanding performance as the Velichappadu. The movie bagged the Kerala State Awards for the Best Film, Director, Screenplay, Actor, Music, and Editing. Nirmalyam also won the award for the best film in the International Film Festival held in Jakarta.

Awards & Recognition

• National Film Award for Best Feature Film (1973)
• Kerala State Film Award for Best Feature Film (1973) 
• National Film Award for Best Actor – P.J. Antony (1973)
• Kerala State Film Award for Best Editor – Ravi (1973)
• Kerala State Film Award for Best Dialogues (1973)
• Hundred Years, 100 Movies , Author: Madhu Eravankara , Translation: Hema Mohandas
• Wikipedia – Nirmalayam
• IMDB – Nirmalayam (1973) 
• DFF Archives – National Film Awards 

Nirmalayalam On YouTube

About The Translator

The contents are contributed to Arthouse cinema from ‘110 years 110 films’, a proposed book project in English by Dinesh Kumar S Nair in association with Madhu Eravangara to commemorate Indian cinema’s 110th year of inception.

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Nirmalyam a film yet to enter the historic annals of Indian films, despite its strong contention

V k cherian, 28 july 2023, 08:02 am ist.

MT Vasudevan Nair receiving the National Award for best feature film 'Nirmalayam' and President's Gold medal from Fakhruddin Ali Ahmed at a function in New Delhi | Mathrubhumi Archives

Nirmalyam, (offering) the 1973 film of M T Vasudevan Nair, the cultural icon of Kerala who turned 90 years in July, remains a not so celebrated film among the New Wave cinemas of 1970s. Surprisingly even the film historians of Kerala too appeared to have forgotten the film, by not giving Nirmalyam its rightful place in the history of Malayalam films.

What makes the MT film a milestone is its strength of not just the story, but its visual beauty. Apart from portraying the decaying feudal village and its people who have been subjected to changes of the 50s and 60s, the film also looks at the changing realities of the religious beliefs of those living out of an old village temple.

No wonder, the film was adjudged as the best film of the year by almost the same jury as that of the previous year, which awarded Adoor Gopalakrishnan’s debut film Swayamvaram as the best film of 1972 nationally. The jury headed by Romesh Thaper in 1973 had Malayalam writer OV Vijayan too, apart from Teji Bachan and Dileep Padgoankar (later Editor of Times of India) and a host of others. Unlike Swayamvaram which was neglected in State awards, Nirmalyam finds its place of honour in the Kerala awards too, as for any jury to ignore MT ‘s film would be very difficult, as the writer MT had his own strong profile in Kerala.

What makes the film notable even today is its bold stand on human predicaments for those who have dedicated their lives to the religion. The oracle, the lead character of the film, is a staunch believer of the local deity and attributed all his misery and the sad plight of the village to the abandoning of the rituals by the villagers in the near crumbling local temple. The oracle reports all the situations to his father, who was an oracle before him, but is bedridden after a stroke. The father for him is a “time” factor, lies paralyzed, but witnesses all activities, including the betrayal of his wife towards the end of the film. MT and his crew lead by Associate Director Azad and Cinematographer Ramachandra Babu beautifully visualizes the few significant scenes with the elder oracle and the son in the twilight of their rooms in the house.

The Oracle’s son is a rebel, educated but jobless and he finds the traditional job of the oracle of no use to him. But he is stuck in the village, as there is no job for him to make a livelihood or support the household which is dependent on the ever dwindling revenues from the temple. Unlike the son, the father, the Oracle, played by PJ Antony, veteran actor and theatre personality, cannot reject his traditional role and beliefs and still tries to get the temple rituals going. He goes to the Nampoodiri to persuade them to send a new priest when the old priest leaves. He warns people of the dangers of ignoring the local deity and the smallpox in the village comes as a wakeup call. The role of oracle convincingly and strongly enacted by PJ Antony a, Christian by birth, got him the best actor award of the year, both national and the State annual awards.

The arrival of smallpox and awakening of the villagers for the temple was too late for the oracle. His son had left the village. His daughter who was friends with the new young priest gets seduced and the priest himself leaves the village for a better life. His credit line with the local money lender was increasing and tired of their plight, oracle‘s wife allows the village money lender to exploit her sexually. For the oracle that was the tipping point, he does not protest, he does not go violent; he takes his frustrations to himself and indulges in his ritualistic dance with the sword for the welfare of the villagers. And finally the oracle strikes his own skull in frenzy with all the strength of his frustration and spits blood on the deity expressing his utter disillusionment with deity, he and his family served all their life. Oracle succumbs to the head injury he himself inflicted in total frustration, leaving the viewers with the magnitude of the tragedy.

The end of this otherwise quiet, almost uneventful film is so disturbing, that the entire build up to the last sequence makes it poetic, just like another film of Ingmar Bergman, Winterlight made in 1963. There too it is the plight of a priest who is struggling with his beliefs and the stalk reality outside the church, making him almost an atheist like his girl friend. Unlike in the West, here the theme is poverty and a society frozen in time in the village, but the struggle with beliefs and unkind Gods remains the same. The 60s and 70s villages in India were stuck between the old and the change which was yet to happen and most of the “New Wave “ films have their theme based on this slow pace of the change after the independence of the country resulting in the tragedies of people in the villages. From Satyajit Ray’s Pather Panchali onwards, the focus of the new cinema has been on the villages and its terrible existence pressing the need for a drastic change. MT too follows this path in his first film.

Be it Swayamvaram of Adoor, where an educated young man out to start a new life falls through this slow pace of change or the lead character of Aravindan’s Uttarayanam of 1974, which again focus on the educated jobless youth, the theme of the period was the slow and painful pace of the change and the intense uncertainty which people endured in those periods. No wonder many of the meaningful films were damned as dark and depressing, just as a Bergman film. But then dark times work wonders on creative people and so does it worked on MT, the quintessential renaissance man of Malayalam literature.

It is this period theme and the wonderful visual treat which MT and his technical team created gives Nirmalyam , a special place in the history of Indian new wave films. His technical team led by Azad and Babu were both fresh graduates from Pune Film Institute, giving their technical expertise as a visual film treat to the strong narrative line of the film. The imprint of the strong and committed technical team, which gave Nirmalyam is unfortunately missing in later films of MT. But that does not belittle his first film in any manner, though the religious -social situation has become too hot, making even the screening of such a film which scoffs, rather spits at a deity impossible. That is how the film enters history, by capturing the essence of human life in a particular time period and storing it as a creative statement. Nirmalyam eminently qualifies to be in the history of Indian films as it captures life with all its manifestations of that period creatively and technically and stores it for future generations.

(VK Cherian is the author of the book, India’s film society: Its Journey and Impact, 2017 and Chalachitra Vicharam, 2021)

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1973, Drama, 2h 14m

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Nirmalyam   photos.

A neglected temple is looked after by the Velichappad whose family has been attached to the temple for generations. The family struggles to survive with the meager income it gets from the temple. His unemployed son turns into a rebel.

Genre: Drama

Original Language: Malayalam

Director: M.T. Vasudevan Nair

Writer: M.T. Vasudevan Nair

Runtime: 2h 14m

Cast & Crew

P. J. Anthony

M.T. Vasudevan Nair

Screenwriter

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Fifty years of 'Nirmalyam' and the significance of political correctness

Iconic Malayalam movie ‘Nirmalyam’ is often remembered whenever a movie is attacked for hurting the sentiments of religious communities. The High Court too had mentioned the movie while considering a plea against the release of the controversial movie ‘The Kerala Story’. Interestingly, the national award winning movie, which was released in 1973, completes fifty years since it came out.

The classic in black and white has immortalised characters like the Velichapad (temple oracle), Narayani, Ammini, Appu and his sisters and Unni Namboothiri. Very few among the cast are alive to see their movie celebrate the golden jubilee of its release. Even yesteryear actors like Sukumaran and Ravi Menon who debuted as young actors in the movie has bid adieu to this world.

No one can speak, write or engage in discourses about the history of Malayalam cinema without watching ‘Nirmalyam’. Now, the movie is back in conversation, mainly focusing on it's political correctness. Even though ‘Nirmalyam’ is being hailed as a cult classic, the movie is attracting criticisms too for its political discourse.

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It is not a new trend to perceive an artistic creation only through the lens of extreme attitudes. The critics have the right to express their opinions. However, they hardly notice the political stances or discourses in it. Meanwhile, some others focus on blindly praising the linguistic excellence of the movie. When people who express delight over the features that they like and scorn at what they do not like, evaluate artistic creations, their opinions are likely to be biased and intolerant.

‘Nirmalyam’ is also a visual evidence that showcases how the political, social, cultural and economical changes that had happened post independence had influenced the villages in Kerala. It is a fact that all movies represent the age in which it was taken. However, some movies portray the age in a detailed manner. They reflect on the positive and negative impacts that social changes could bring in an individual.

Even in the modern era where food scarcity and unemployment aren’t in its worst form, a movie like ‘Nirmalyam’ touches the audiences’ hearts. The critics who are determined to dig out evidences to elucidate that MT Vasudevan Nair had created the movie by taking the side of the upper caste, can easily do so. However, the society has changed a lot from the bleak times when the temple priest had to open a tea shop or the oracle’s wife submits herself to the merchant just to escape from starvation.

The society has only moved forward unlike the sad plights of Narayani or Appu, the oracle’s son. Now, there is no temple in Kerala that has deteriorated into a dilapidated state like the Melukavu in the movie. The faithful in all the religions have grown strong and the places of worship have prospered. Even the character Valyambran played by Kottarakkara Sreedharan Nair shows reluctance to contribute money to perform a sacrificial ritual in the temple. The people are ready to give money for conducting the ritual as they are scared of the deadly small pox that were killing masses. During the modern age, the temple festivals are grand and people do not hesitate to contribute hefty sums as donations. So, it is quite ironic that some people are eager to find out the political correctness in ‘Nirmalyam’ while enjoying these grand affairs in the modern age.

MT’s autobiographical element

The character of Warrier who stays close to the temple, laments about the prosperous past while looking sadly at his ancestral home that has descended into misfortune and impoverishment when the kudikidappukar or the tenants took over the land following the historic land reforms. Similarly, the oracle too recalls the good times when he enjoyed scintillating temple festivals. Meanwhile, Kathakali artist Ramunni played by Sankaradi cannot help reminisce about the days when the art was celebrated for its real beauty. When changes happen, some people experience personal losses and disappointment. Meanwhile, Valya Thambran embraces the changes by presenting the capsule formats of these traditional art forms to foreign tourists. He even owns a car. When the oracle is destined to beg for a handful of paddy grains, the elephant owned by Valya Thambram feasts on ghee and special medicinal herbs.

It is true that these characters represent the real people who lived in the premises that were familiar for MT Vasudevan Nair. As an artist, and not as a historian, he perfectly shows how an era of change had impacted the lives of people in various walks of life.

The spectacular frames of Ramachandra Babu and the soul touching tunes composed by M B Sreenivas had elevated the movie into an intense emotional experience. Ramachandra Babu’s camera had perfectly captured the beauty of the countryside and the locales like the temple, illam (traditional Namboothiri homestead), oracle’s house, the paddy fields with authenticity. The celebrated cinematographer transforms the frames of the rustic set up and the brilliant performance of the oracle in the climax into a mesmerizing visual treat.

The shadow images of Unni Namboothiri and Ammini sitting inside a cave, to escape from the rains, while returning from the post office shows the sign of a master craftsman. Similarly, a few scenes from inside the temple too is scintillating. In an interesting anecdote, in a scene where the character played by RK Nair reads out the address from the letters at the post office, he says the name of Thekkepattu Vasu who is MT Vasudevan Nair himself!

The imagery of helplessness

M B Sreenivas has used the music of Kerala only in certain places in order to augment the emotional impact. In the temple scenes, the percussion instruments that are played during temple festivals are used. The background music in the scenes in which the love relation between Unni Namboothiri and Ammini grows into intense passion stirs an inexplicable magical emotion in the audience.

The performance of every actor in this movie is praiseworthy even though it was P J Antony who won the National Award for best actor. Actors like Kaviyoor Ponnamma, Sumithra, Shanta Devi, Kottarakara Sreedharan Nair, Surasu, Kuthiravattam Pappu who plays the newspaper man, Nilambur Balan who sings Pulluvan pattu and M S Namboothiri who essays the elder oracle had delivered memorable performances.

Unni Namboothiri is appointed as the new temple priest when the old priest resigns as it is no longer a lucrative job. When he arrives for the first time by crossing the river, his eyes hooks onto Ammini at the bathing ghat. Ammini who helps Unni Namboothiri cook the temple offering, doesn’t hesitate to share the food with the insane person who sits beneath the banyan tree even though she knows that the morsel of food could have filled the stomachs of her own family members. But, she knows no other way as she is the daughter of the oracle who never use the money that is contributed to the temple to fulfil his needs.

However, their kindness and devotion are not enough to keep poverty at bay. Moreover, the good hearted Ammini doesn’t even get the man she loves. The movie has umpteen number of images that realistically depict the helplessness experienced by people. ‘Nirmalyam’ could rightly be called a successor to the movement of realistic cinema that was led by iconic Italian and French filmmakers.

Those who watch with heart

This movie is different from the other screenplays penned by MT Vasudevan Nair that focuses more on dialogues and conversations. In this movie, he is a filmmaker who perceives cinema as a visual art. Interestingly, a sad and dejected Ammini is still at the bathing ghat when Unni Namboothiri returns by crossing the river. He, meanwhile, is forced to reject Ammini as he says ‘yes’ to another alliance so that his sister’s marriage too would be fixed.

In this scene, instead of sad music, a joyous folk wedding song sung by a wedding party who passes in another boat accompanies as the background score. Meanwhile, the audience watches the montages of the wedding party, the teary eyed Ammini who gazes at her lover and Unni Namboothiri who walks away from her. M T Vasudevan Nair breaks all rules of filmmaking when he pastes these sad scenes along side the vibrant wedding beats of the song. Later, many filmmakers may have tried this kind of treatment in their movies.

It is alright to dissect ‘Nirmalyam’; praise it baselessly or hate it pointlessly. You could even crucify or judge the filmmaker using the parameters of political correctness. However, it is also true that the movie continues to be a scintillating cinematic experience even half a century after its release. Those who watch the movie, with their heart and not just with their heads, are sure to appreciate this great work of artistic excellence.

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This Kerala man is breathing new life into classic Malayalam films with stunning remastered posters

Lainoj tv, a professional publicity designer from neeleeswaram in kerala's ernakulam district, has already created remastered posters of nearly 200 films..

Remember the magical moments of our childhood when we would gaze out of bus windows and be enthralled by the movie posters adorning walls along the way? We would read the names of the cast and crew, memorise the theatre locations, and eagerly try to persuade our parents to take us to the show. Occasionally, we would carefully remove posters and cherish them forever, placing them within the pages of our textbooks. Movie posters occupy a meaningful position in our cinematic culture, standing alongside the act of actually watching films.

But it took us a considerable amount of time to realise that movie posters also serve another purpose – they establish the time period in which a film is set. Many filmmakers today skillfully employ this tactic without explicitly mentioning the year on the screen. 

However, the quest to find the poster of a beloved old Malayalam film proves to be an arduous undertaking. Many of these posters have not been digitised, especially since a significant number of original copies have succumbed to decay and neglect. Hence, obtaining a high-quality digital version of posters from the 1970s or earlier is nearly impossible.

Lainoj TV, a professional publicity designer from Neeleeswaram in Kerala’s Ernakulam district, had an epiphany when he discovered last year that the Cannes Film Festival was set to screen the remastered version of G Aravindan’s Thampu (1978) . Upon hearing this news, Lainoj began searching online for a high-quality poster of Thampu, but his efforts were in vain. This led him to think, “Why not create a poster of the film myself?”

“At that particular time, there was no top-notch print of Thampu available online. I found the idea of crafting a remastered poster for the film both challenging and enjoyable. Hence, I decided to undertake this project on an experimental basis,” shares Lainoj, who has already created remastered posters of nearly 200 films, with indianexpress.com .

However, it was the remastered poster of MT Vasudevan Nair’s Nirmalyam that gained widespread popularity and garnered Lainoj a multitude of fans.

The artist distinguishes himself from his contemporaries through his unwavering dedication to the artists who came before him, particularly those who hand-drew the titles for old movies in the absence of advanced technology. “In present times, when designers recreate posters of old films, they often completely redesign the title using new fonts and their own creative ideas. However, I believe this is unjust to the pioneers who originally crafted those pieces. Back then, technology was severely limited, and these artists would paint the titles using brushes and paint, relying on the limited information provided by the filmmakers. They might not have even had the opportunity to watch the films themselves. Yet, they created extraordinary posters that became the iconic representations of those projects. Therefore, I consider it unfair to redo the title. Instead, I recreate the title style by drawing them using modern technologies, paying meticulous attention to every detail.”

“When I first began, many people claimed that I was unemployed and that’s why I was embarking on this venture. Even when I started working as a publicity designer, I encountered the same scepticism. None of them took me seriously until I achieved a notable feat by entering the India Book of Records last year for re-creating the highest number of movie posters,” he recalls.

Delving into the process of creating remastered posters, Lainoj explains, “The most challenging aspect is locating a decent quality print of the movie. It’s quite arduous as many movies available online have very poor prints. However, since that forms part of the challenge, I proceed with it. The next step involves watching the movie as a viewer, comprehending its tone, aesthetics, and essence. But the watching doesn’t stop there. We have to rewatch it, perhaps even a third time, to identify the frames we can capture as screenshots for inclusion in the poster. Only after obtaining the appropriate screengrabs can I commence the poster design process. The initial phase entails enhancing the images to improve their quality. Since the print quality is often subpar, the colour palette gets affected. Therefore, we have to carefully correct the colours, including the characters’ skin tones. It should appear natural, as any deviation would impact the overall aesthetics of the poster.”

“ Occasionally, it becomes challenging to capture screenshots of specific characters exactly as we envision them. In such situations, I proceed with the most significant moment in that character’s journey, capture a screenshot, and work around that. However, in some cases, the obtained images may not be complete. For instance, part of their hair may be missing from the print. To address this, I employ my drawing skills to complete these images.

“While working on the remastered poster of Athisayan (2007), I realised the significance of obtaining a complete shot of the enormous figure the child had transformed into. However, the film lacked such a full shot. Consequently, I carefully captured a series of images, frame by frame, featuring different parts of his body, and then skillfully combined them to create a unified image. This process carries a certain level of risk, as any oversight could make it apparent that the images were pieced together. It is crucial to ensure a seamless flow in such cases,” he adds.

Referring to the poster he designed for Bharathan’s Malootty (1990), Lainoj explains, “It is not always possible to acquire all the necessary images for a poster solely from the film itself. In such situations, we must search for images that closely resemble specific scenes from the movie and work with those.”

In terms of selecting colours for each element of the poster, Lainoj emphasises the significance of carefully watching the film and understanding its overall atmosphere. He illustrates this by referring to the poster he designed for Nirmalyam, where the background prominently featured the colour red, which holds great importance in the movie.

“Although it may seem that each poster consists of only four to five layers at most, the reality is that a poster typically incorporates a minimum of 50 to 60 layers. Creating a remastered poster for a film with an average-quality print takes a minimum of three to four hours. This is in addition to the several hours spent carefully watching the movie, searching for moments that can be captured as screenshots. If the print quality is exceptionally poor, the process can extend to six to eight hours.”

When asked about obtaining high-quality prints of very old films, Lainoj said that such prints are often difficult to find. However, due to his passion for the craft, Lainoj has established connections with organisers of film festivals and similar events who possess superior prints of certain films. Building a network has become crucial in this regard. Lainoj cites an example of creating the remastered poster for John Abraham ’s Vidhyarthikale Ithile Ithile (1972), which was made possible with the assistance of such a network.

Referring to the process of crafting posters for black-and-white films and the criteria for selecting colours in such cases, Lainoj states, “In contemporary times, many films adhere strictly to a colour palette that aids viewers in understanding the emotional nuances of each scene. When working with black-and-white movies, I closely analyse the tone and essence of the film and then incorporate colours that enhance the portrayal of emotions and themes. For instance, while designing the poster for KS Sethumadhavan’s Anubhavangal Paalichakal (1971), which was a black-and-white film, I opted to give actor Sathyan’s shirt a vibrant red hue and placed a red flag in the background, as the movie revolved around subjects like Communism and the labour movement. I followed a similar approach when creating posters for Pancha Thanthram (1974) and Taxi Car (1972).”

“While I do consider it as a future prospect, my intention has never been to make money out of this. My ultimate goal is to inspire more and more people to watch these films. And what better way to attract them than through captivating posters? If someone approaches me for hard or framed copies of my posters, I would gladly assist them. I ensure that the final outputs of these posters are of the highest quality, allowing people to obtain HD print-outs. However, rather than transforming this into a business venture, my dream is to compile my works into a book someday, providing younger generations with the opportunity to explore and be inspired by these timeless movies,” Lainoj responds when asked about the possibility of collaborating with companies that sell film merchandise.

He has also ventured into creating remastered posters for non-Malayalam films, including Pather Panchali (1955), The Burmese Harp (1985), Iruvar (1997), Vikram (1986), and Ramayanam (1997) among others.

While Lainoj utilises Adobe Illustrator to design the title, the image enhancement process is performed using Topaz Labs’ Gigapixel AI. Adobe Photoshop is employed for the remaining aspects of the work, such as crafting the overall poster and getting the final output. He says he also maintains a strict quality standard and will not share any work that fails to meet his satisfaction. Despite investing hours of work into some posters, he occasionally deletes them if he isn’t pleased with the final result.

When questioned about the most challenging poster he has created, Lainoj points to Prathap Pothan’s Daisy (1988). “I initially undertook the project at the request of actor Koottickal Jayachandran, a devoted fan of the film. However, to my surprise, it turned out to be a time-consuming endeavour. I personally drew many elements of the poster, which ultimately brought me great joy upon its completion.”

Among his works, Lainoj’s favourite is the one he made for G Aravindan’s Chidambaram (1985). “That poster still brings me immense joy. I believe I was able to capture the essence of the film in it.” Currently, Lainoj is focused on creating remastered posters of films by master directors like KG George and IV Sasi. He has already covered the filmographies of G Aravindan, John Abraham, and Adoor Gopalakrishnan.

“The poster of a movie is the initial and most prominent aspect that catches people’s attention. It serves as a key factor in attracting viewers to watch the film. Therefore, I kindly urge the authorities and the government to recognise the significant role of publicity designers and establish an award specifically for their contributions. Furthermore, it is crucial for the government to take the initiative to restore and enhance copies of old movies, ensuring that future generations can appreciate our remarkable cinematic treasures.”

Having been closely associated with the Malayalam film industry for over 10 years, Lainoj’s most recent work as a publicity designer was in the 2022 film Vazhakku, directed by Sanal Kumar Sasidharan and produced by actor Tovino Thomas, who also played the lead role. He nurtures the aspiration of making his own feature film one day.

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1973 ‘നിര്‍മ്മാല്യം’ Directed by M T Vasudevan Nair

An ancient temple is neglected to ruins and is tended only by the Velichappadu. When the priest goes on a leave, a young man takes up his job and forms a relationship with the Velichappadu's daughter.

P J Antony Sumithra Ravi Menon Kaviyoor Ponnamma Sukumaran Sankaradi Santha Devi Kottarakkara Sreedharan Nair Kunjandi M. S. Namboothiri S. P. Pillai

Director Director

M T Vasudevan Nair

Producers Producers

M T Vasudevan Nair S. Pavamani

Writer Writer

Editor editor, cinematography cinematography.

K. Ramachandra Babu

Composer Composer

M. B. Sreenivasan

Songs Songs

K. Raghavan

Novel Films

Romance Drama

Releases by Date

23 nov 1973, releases by country.

• Theatrical U

128 mins   More at IMDb TMDb Report this page

Popular reviews

Review by Varghese ★★★★½

Is this the most shocking climax in Indian Cinema? Probably. This powerful debut from acclaimed writer M.T. Vasudevan Nair shows an individual in the throes of religious conflict with himself and those around him, unemployment woes which still plagues the nation 45 years on and how lovers are broken apart due to circumstances. In a performance that won him the National Award for Best Actor P.J. Antony gives a performance rarely seen today. He is stoic in his beliefs and he descends into madness when his trust is shatttered. If the film was made today,the controversial temple scene would have made the Padmaavat pre release hi jinks look tame in comparison.

Review by Ad0495 ★★★★★ 1

The Most Boldest Daring Malayalam film ever made.OMG OMG OMG What did i watched I didnt even thought a film like this would be in Indian Cinema that too in Malayalam Industry. This film would been Banned if its released now and would have got into more problems than Padmavat got. Censor board would have cut down that last 3 min scene if it was now.

Lot of themes explored in this film like : Poverty Unemployment Hunger Female Sexual Fantasy & Male Sexual Desires People Religious Beliefs Relationships

Debut film of Sukumaran & Sumithra and both did good job but PJ Antony stealed the show [ he was the 1st malayalam actor to get national award and it was this film…

Review by Avinaba Chakraborty ★★★★★ 1

'Nirmalyam' means the offering and in his debut film M T Vasudevan Nair offered a chapter from recent past through a traditional Keralian village on the verge of modernisation, a village where everything goes wrong, need wins over love and the villagers are divided and confused about their age old superstitions; this era lost in time is illustrated on screen with utmost subtlety and one of the most profound portrayals of faith and moral dilemma I have ever witnessed on screen.

The story of Nirmalyam revolves around a temple and with a stellar performance P. J. Antony as the oracle Velichappad becomes the soul of the film, even when he wasn't present on screen his impression was there. His wife…

Review by nrh ★★★★ 2

a village seems to die around the frame of it's lonely, ruined temple; no jobs, no money, crazy gopalan has lost his mind ever since he saw something sinister under the bhanyan tree, the well has been poisoned since a young woman from the manor threw herself in (nobody remembers why), the lone kathakali dancer can't dance anymore and nobody bothers with rites to the goddess at all. village as society in state of violent social change, the direct center of it, hard to see where the blight is coming from (and by end evil will be done by both the young and the old order); human sacrifice is required by the end.

m.t. vasudevan nair's first movie as writer/director/producer;…

Review by Alan Nair ★★★★½ 2

This film is just great. Has a very Ozu vibe to it. P.J. Antony looks like a young Tilakan (I actually mistook him for a young Tilakan in his hippie phase), and he is simply brilliant. The actress who plays Ammini also gives a wonderful performance. There are cuts that are just editing genius. M. T. Vasudevan Nair proves his worth as a filmmaker despite already being among Malayalam's greatest literary geniuses.

Good: It's on youtube: www.youtube.com/watch?reload=9&v=J2FYIQhwep0 Bad: Not exactly the criterion print (there's none btw). Ugly: No subtitles either.

EDIT: I'm removing half a star from the film's rating, for two reasons: 1. I know this way back in the day, but consent is not something the filmmakers have well unerstood. 2. A more serious accusation: The only Muslim character in this film ends up being the biggest dick in the film. I mean it seemed a li'l bit Sanghi? I dunno.

Review by joelmathew ★★★½

Review by Gowtham ★★★★½

Nirmalyam is set in the backdrop of Kerala as it was slowly transitioning into the communist phase. When feudal landlords lost there land to the working class, both the classes felt the changes and waves of hardship to hit them, when economy suddenly fell flat and underwent a massive redistribution. For a decade most notably known for the more soap opera sensibility of a Nazir's film. Such a film, one of M. T. Vasudevan Nair's few directorial works, with a high realism given to the political landscape and the social life, is one reason this is an absolute classic of malayalam cinema. P. J. Anthony's performance is truly iconic. It's no wonder that he is the first malayalam actor ever…

Review by Ananthooo ★★★★★

I was blown by the fact that this was made in 1973 yet it still stands out as one the best Malayalam movies ever, what more crazy is the fact that it's a directorial debut of the famous writer M. T Vasudevan Nair. I'd expected this to be something like religious propaganda movie surrounded totally by the mythologies and rituals that existed in Kerala back then but damn this is beyond that. The movie set in the of post independence period and how it totally changed the then existed system of everything for example the social, political and economic structure and the aftermath of how it effected everyone in the society. Even when i say how it effected everyone in…

Review by Azhagu ★★★★

How tolerant Indian society were once?. It is not possible to release such a bold film with out any cuts and requires guts to direct such a film. Well M.T. has it. I broke down when sankaradi leaves the house. You won't think it as a debut movie when you see those realistic images of the village and it's texture.

A love-making scene inside a temple and a climax as such, you won't believe that the movie is available across the platforms without a single cut. PJ Antony, what a subtle performance.

There is no remarks which is of negative side except the depiction of certain character (Money Lender) on which i have dilemma about.

Review by Abhirami ★★★★★

Review by prtk j ★★★★

The slow annihilation of traditionalism and religion when faced with changing times. The maddening and unexpected consequences of blind faith.

PJ Antony... wow.

Review by Akhil J Ajayan ★★★★½

This is Malayalam cinema at its most magnificent self. Probably the most intense climax scene I have ever seen in an Indian movie.

Must watch for every movie lover out there.

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'Aavesham' Review: Fahadh Faasil hits it out of the park in Jithu Madhavan film

Director jithu madhavan's 'aavesham', starring fahadh faasil, is a zany action comedy. with fafa's exceptional performance and impeccable comedy timing, the film is a total winner, says our review..

Listen to Story

• 'Aavesham' released in theatres on April 11
• The film is directed by Jithu Madhavan of 'Romancham' fame
• Fahadh Faasil plays the lead role in the film

Release Date: 11 Apr, 2024

After the success of director 'Romancham', director Jithu Madhavan is back with 'Aavesham'. And this time, he teamed up with the one and only Fahadh Faasil. 'Aavesham' managed to pique everyone's curiosity. And the pre-release teaser where Fahadh Faasil, clad in a towel, did a fun dance, took the expectations to a crescendo. Did 'Aavesham' impress everyone? Let's find out!

Set in Bengaluru, 'Aavesham' revolves around three college students, Bibi, Santhan and Aju, who get enrolled in a college, where they get bullied and ragged by seniors. In order to take revenge, the college students join hands with a local goon Ranga (Fahadh Faasil). How Ranga's involvement in their lives brings a change forms the story.

Director Jithu Madhavan's 'Aavesham' is a mad-cap entertainer with exceptional performances. The action comedy deals with a simple storyline and that's where its beauty lies. The filmmaker doesn't waste time in showing how Ranga became a goon and concentrates on his unique character traits. It is the comedy that works to a major extent for the film.

The filmmaker concentrates on character arcs and makes them interesting for the audience. While the second half lags in terms of content, Jithu Madhavan redeems himself with the climax. Also, let's not forget the intermission, which was a perfect theatrical moment.

The title credits of 'Aavesham' 're-introduce' Fahadh as Ranga and you will know why. As Ranga, Fahadh Faasil has wonderfully portrayed the dynamic character. Initially, his character looks like a ruffian with a comedic sense. However, there is more than what meets the eye, and you will know as the story progresses. His 'eda mone' and many antics make this character quite enjoyable and entertaining.

Accompanying Ranga is Sanjin Gopu's character, Amban, whose one-liners become major contributors to comedy in 'Aavesham'. Together, they're a riot. Similarly, young actors Hipster, Roshan Shanavas and Mithun Jai Sankar ease into their roles, making the film intriguing.

If Fahadh Faasil's performance is a major asset to 'Aavesham', composer Sushin Shyam's music is yet another aspect that adds beauty to the wild ride. Cinematographer Sameer Thahir and editor Vivek Harshan complement each other in enhancing the effectiveness of 'Aavesham'.

'Aavesham' is truly an enjoyable affair with brilliantly choreographed action sequences and comedy sequences. If you're a fan of Fahadh Faasil, then 'Aavesham' will prove why you became his fan in the first place. 3.5 out of 5 stars for 'Aavesham'. Published By: K Janani Published On: Apr 11, 2024 ALSO READ | Watch: Fahadh Faasil dances with college students at 'Aavesham' promotions