KUMBALANGI NIGHTS TORMALAYALAM MOVIE
In Nadodikkattu (1987), one among a series of films that revolve around the classic bromance between Mohanlal and Sreenivasan, caste differences were wished away to depict a homosocial bond, even as movie after movie made a laughing stock out of the lower-caste character. In fact, it is the (uncomfortable) reactions of the women here that let us know that they are not so. His control is established not through overt violence, but through gestures that past films would goad the audience to read as sacrificial, protecting and upholding honour.
Shammy here literally takes the seat of the male patriarch in a household of women. Lost ‘tradition’ and ‘manliness’ are what films of this period mourned and sought to rebuild, even as society shifted towards individualism and consumerism. A slew of films of the period followed the same pattern – a harking-back to a feudal culture and a religious revivalism as an antidote to the fetters of a modernising society. The nostalgic imagination of the tharavadu (ancestral home) is combined with the regressive idea that men have to know when to put a woman in her place. In Vatsalyam (1993), Mammootty is the sole provider for a Nair joint family, upon the death of his father.
0 kommentar(er)
