With its poignant narrative and bold stance against social evils like untouchability, feudalism, and injustices towards women, Neelakuyil shattered conventions and became a beacon of originality.
Published Dec 18, 2024 | 9:33 AM ⚊ Updated Dec 18, 2024 | 4:50 PM
1954 film 'Neelakuyil' was screened at the IFFK 2024. (Sreelakshmi Soman/South First)
Before Neelakuyil (Blue Koel) graced the silver screen, Malayalam cinema largely mirrored its Tamil counterpart, lacking a distinct voice of its own. Then came this groundbreaking film on 22 October 1954, forever altering the trajectory of Malayalam cinema.
With its poignant narrative and bold stance against social evils like untouchability, feudalism, and injustices towards women, Neelakuyil shattered conventions and became a beacon of originality.
It didn’t just earn critical acclaim, it soared to commercial success, becoming the highest-grossing Malayalam film of its time — an extraordinary feat for a cast of relatively unknown actors except Sathyan.
The raw and hard-hitting dialogue, coupled with the authenticity of the regional dialect, resonated deeply, elevating the film to a cultural milestone.
On 17 December, the International Film Festival of Kerala (IFFK) paid tribute to Neelakuyil and its visionary co-director and poet P Bhaskaran, who not only helmed the project alongside Ramu Kariat but also played a pivotal role in the film — a fact unfamiliar to many of today’s generation.
The event became even more significant with the presence of celebrated cinematographer Vipin Mohan, who, as a child actor, had been a part of this historic creation. Now the sole surviving member of the crew, his presence added a layer of nostalgia and reverence.
As the theatre was filled with young Gen Z viewers, Neelakuyil once again worked its magic. The raw, unapologetic dialogues about caste discrimination and the plight of women struck a powerful chord, leading to spontaneous applause.
The black-and-white frames, laced with the soul of an era grappling with societal shackles, transported the audience back in time.
Premkumar elaborated on Neelakuyil’s historical and cultural significance.
Director Ranjith Balakrishnan resigned from his position as Chairman of the Kerala State Chalachitra Academy (KSCA), following his name being implicated in one of the first cases registered after the publication of the Justice Hema Committee report. Alongside his resignation, Ranjith also stepped down as the director of the IFFK.
Premkumar, the newly appointed director of the KSCA, took charge of this year’s IFFK and is making his presence felt across venues in Thiruvananthapuram. His leadership marks a new chapter for the festival, which has grown significantly since its inception in 1996.
The IFFK began in Kozhikode under the Kerala State Film Development Corporation (KSFDC) before the KSCA took over its organisation in 1998, elevating it to an internationally acclaimed platform.
One of the festival’s most revered moments was the screening of Neelakuyil, held as a centennial tribute to P Bhaskaran, born on 21 April 1924 in Kodungallur.
Premkumar elaborated on the film’s historical and cultural significance, describing it as a cornerstone of Kerala’s progressive identity.
“The film boldly tackled casteism and feudalism during a time when these issues were deeply entrenched in society,” Premkumar said to the media and audience. “While many remember P. Bhaskaran as a poet and lyricist, he was also a visionary social reformer. it required immense courage to produce and became a cultural revolution that reshaped Kerala’s community and consciousness,” he said.
P Bhaskaran.
P Bhaskaran, Kerala’s celebrated lyricist and poet, remains an enduring symbol of artistic brilliance, despite fading into obscurity in his later years.
Renowned Film reviewer Vijayakrishnan recently revealed intriguing, lesser-known facets of Bhaskaran’s life and career. Surprisingly, Bhaskaran began his journey in the Tamil film industry — not as a Tamil lyricist, but by penning Malayalam songs for Tamil films.
Even though he directed only a handful of movies, three of his works — Neelakuyil, Rarichan Enna Pauran (1956), and Iruttinte Athmavu (1966) —are considered timeless masterpieces that revolutionised Malayalam cinema.
Tragically, towards the end of his life, Bhaskaran lost his memory, often forgetting even the iconic songs he had created or, at times, his own identity.
Vipin Mohan, who debuted as a child artist in Neelakuyil and later became a renowned cinematographer, shared a humorous memory of Bhaskaran.
“I’m probably the only actor who entered the film industry by literally standing on a director’s back! During the shoot of a song sequence at a pond, I was too scared to get into the water. Bhaskaran Mash hid underwater, letting me climb on his back and pretend to swim!” he said.
P Bhakaran is often addressed with the suffix Mash, meaning teacher.
During the screening of Neelakuyil, Vipin Mohan was honoured by KSCA Secretary C Ajay.
A Dalit woman, Neeli, portrayed by Miss Kumari, is discovered dead alongside her newborn child, whose paternity remains shrouded in mystery. The infant is adopted by Shankaran Nair, a compassionate postmaster from a high-caste Hindu family, played by P Bhaskaran.
Unknown to everyone, the biological father of the child is Sreedharan Nair, a man of the same caste, portrayed by Sathyan.
Sreedharan Nair’s life with his wife, Nalini, played by Prema, becomes fraught with inner conflict as the truth about his connection to Neeli and her child begins to surface. Overwhelmed by guilt and anguish, Sreedharan Nair is forced to confront the consequences of his past actions. As the story unfolds, his inner journey leads him to question societal norms and the values he upholds.
The narrative reaches its emotional climax when Sreedharan Nair, driven by remorse and love, finally acknowledges his child. This act of acceptance not only brings closure to his tormented soul but also marks a transformation in his character.
The film concludes with his resolution to embrace both his child and his true self, reflecting themes of redemption and self-discovery.
IFFK delegates posing for a selfie after watching Neelakuyil.
IFFK is known for bringing together film enthusiasts across generations. While senior cinephiles often gravitate toward classic milestone movies, Gen Z audiences explore international films.
This year, however, Neelakuyil broke the narrative. The 1954 classic, which critiques caste discrimination, drew an overwhelmingly young audience, with Gen Z film enthusiasts filling most of the seats.
Each revolutionary dialogue from the film received resounding applause, including the lines like,
“This is a new world; it belongs to progressive human beings, not casteists” and “Raise a child as a human, not as a caste representative.”
After the screening, attendees shared their experiences with South First.
Sreekutty, a journalism student, remarked, “The film itself is a revolution. In 1954, making a movie critiquing the caste system was groundbreaking. We often think modern films are bolder but Neelakuyil carries statements that remain relevant forever.”
CJ Kiran, a law student and a film enthusiast, added, “The caste hierarchy, even its negative aspects, is still visible in contemporary cinema. Watching Neelakuyil, a film that boldly portrayed these issues decades ago, is not only intriguing but also deeply inspiring.”
The audiences believed that the screening was a testament to how timeless stories of social reform can resonate with younger generations, fostering discussions on equality and progress.
(Edited by Muhammed Fazil.)
