Life Changing Malayalam Movies

[Martta]

Newgeneration films is a Malayalam film movement developed in the early 2010s, characterized by fresh and unusual themes and new narrative techniques.[1][2] Films of the new wave differ from conventional themes of the past two decades and introduced several new trends and techniques to the Malayalam film industry.[3] While the new generation formats and styles are deeply influenced by global trends, their thematics are firmly rooted in Malayalee life and mindscapes.[4]

Unlike the general trend in the Malayalam films, most of the new directors were young.[1] Director Aashiq Abu, one of the most talked-about new generation film-makers in Malayalam, introduced several new wave films and technicians.[3] Actor-producer Jayasurya who had debuted into the industry in 2002, had begun creating his own signature in the new-wave of cinema through phenomenal acting performances in films such as Beautiful and Trivandrum Lodge. Jayasurya had also broke the image barrier of performing in lead roles for a mainstream actor or star, by essaying several character roles and antagonist roles all which were critically acclaimed.[9] Actor-writer Anoop Menon was another emerging personality in the beginning of New Generation Era.[3]

Erosion of the so-called "superstar" system in popular Malayalam films coincided with rise of the new wave where screenplay got rooted-to-reality, closer-to-life and lead characters became ordinary men and women. Influx of new actors, the absence of superstars, rise of metro-centric/urban and middle-class themes and different story-lines were also noted in the wave. While formats and styles of the new directors are deeply influenced by the global trends, their thematics were firmly rooted in Malayali life and mind-scape.[10] A recurrent trope in these new narratives is accidents, coincidences, casual encounters and chance meetings that set in motion an unexpected chain of events affecting the lives of the characters drifting in the urban flotsam.[10] The frequent use of Malayalam influenced by English is also noted in the films.[8] The use of latest technology has added speed to the process of change in the industry. More advanced technology and innovative techniques are being experimented and the industry has become more open to trying out new ideas.

Until the beginning of new wave, most Malayalam films had rural themes portraying the "essential goodness" and "unspoilt beauty" of villages.[11] The focus of the films also shifted from the conventional masculine, handsome, virtuous and invincible hero to more humane characters. Another notable feature is that stories shifted to depict more non-male characters as lead. Films featuring gender minorities and homosexual leads is another definitive characteristic of this era of Malayalam cinema.[2] The depiction of women has also changed in the new wave films beyond recognition. The leading ladies have often been shown to be working women who are individualistic by flirting openly, drinking and smoking in public, and making lewd comments, something which was considered taboo in the 80s and 90s.[2] A number of female-oriented films like 22 Female Kottayam (2012), How Old Are You? (2014), Rani Padmini (2015), Uyare (2019), The Great Indian Kitchen (2021) were also the part of the new wave.[1]

The new wave soon ignited a debate about the era of superstars coming to an end with Malayalam cinema witnessing a radical change.[12] In the 1980s, stars mattered, though not as much as in the 1990s and 2000s, when Malayalam cinema was practically dictated by the then superstars of the industry.[13] The stranglehold of superstars that was stifling any new experimentation, complemented by the autocratic control of Malayalam film industry organisations over all areas of the industry was seen as pushing the industry to the wall.[10] Unlike Mohanlal, Mammootty has done more films with directors of new wave movement, mostly being the directors' debut movie.[14][15]

Actors like Thilakan, Nedumudi Venu, Prithviraj Sukumaran, Jayasurya, Kunchacko Boban, Indrajith Sukumaran, Biju Menon, Indrans, Pratap Pothen, Suraj Venjarammood, Harisree Asokan, Kunchan, Lal, Saiju Kurup, Jaffar Idukki, Baburaj, Lena etc. who began their career before the new wave were also noted for their performances in the new generation films.

As per critics, the new wave of activity in Malayalam cinema is reminiscent of the 1980s, regarded as the golden age of Malayalam cinema, when mainstream films bridged the gap between arthouse and commercial movies, led by a team of talented writers and directors.[13] In the 1980s, Malayalam films witnessed some positive changes through directors like Padmarajan and Bharathan, who made path-breaking films. These films too broke the norms which were considered the prerequisite for a commercial entertainer, and traversed a new path between popular and parallel cinema.[12]

There is a general consensus that the New-Gen movies draw a lot of inspiration from other film industries. They depict lives of people living in 21st century Kerala through a very realistic lens, it's often said that most of its success is due to the freshness these narratives possess in comparison to traditional Malayalam movies. [citation needed]. New-Gen Malayalam movies tend to feature more nucleus families and urban lifestyle, rather than the depiction of traditional joint families from villages. This and the adult themes present in a lot of movies has gained the New-Gen movies the criticism that they're primary targeted towards young people.

The new wave films are criticized for explicit language and provocative themes, often "under the guise of bold or modern".[3] Malayalam actor Jayaram has talked about his disinterest towards the new generation films publicly, he has heard to be saying the new wave films lacks its appeal towards a family environment as the inappropriateness of mannerisms in certain films, beyond a PG-13 is very awkward to someone who expects to watch a family film such as most of the conventional Malayalam movies were, which did not need a specific rating.[citation needed]

The New generation received criticism from some conventional film-makers. They accused that plagiarized versions of foreign films are being presented under the guise of New Wave experiments.[3] While admirers of the New Wave of Malayalam films call it the "Jasmine revolution", critics refer it as the "multiplex revolution".[2] "Some films that are fresh in thought and execution have clicked at the box office," says veteran director Sibi Malayil. "But I am against referring to them as New Wave Cinema. Changes were always there in Malayalam films. But most of these so-called new-generation movies revolve around the themes that deal with life in a metro city. These films are getting a good response in tier-I cities only".[12]

Playing the mother of two boys in Manikandan's Kaaka Muttai was a role Aishwarya Rajesh chose to do when she was just getting started. The role was anything but glamorous, and the setting was impoverished. Common logic would suggest that it was career suicide. But the risk-to-returns ratio is finally looking up, with the actress having signed a series of films that ride on her shoulders. Edited excerpts from what was supposed to be a 15-minute conversation but lasted two hours:

Mostly, just as a film. But I can't help being bothered about my performance. Apart from these, it's the memories of the shoot that keep coming back. We shot the film in a slum near Saidapet and we didn't have a caravan. I had to keep going to a lodge next door to change or for makeup. When I watched it recently, I was reminded of the day when we were shooting that scene where Simbu inaugurates the pizza place. From the lodge, I kept looking down to watch the shoot. There was so much excitement because he was coming and the roads got blocked. When I drive past those places today, I'm transported to that time. Remember that empty ground in the film where all the kids play? It has become a petrol pump now. It's just five or six years ago, but a lot has changed, even in me.

I still consider Kaaka Muttai a game changer. I was working in the industry for about five years before its release, but the kind of appreciation I was getting after that was unlike anything I'd experienced before. They kept praising me and people kept saying how natural my performance was. I started flying and I kept telling myself, "Aishu, nee thaan adutha superstar."

But nothing happened. Kaaka Muttai wasn't just critically acclaimed. It was also a hit. But I was still sitting at home waiting for my next chance. The reality was that I wasn't even getting a meaty role, let alone play the heroine in a big film. It didn't make any sense.

I don't have an answer for it. I'm still confused. Maybe I didn't have "market value" or, maybe, I wasn't in that top league of actors. But this is something that's happening to a lot of Tamil-speaking actors. Nivetha and Dhansika are from Madurai and Varalaxmi is from Chennai. But how often do we get well-written roles? Dhansika for instance, can even do an action film. But no one writes roles like that for women.

I met Jyotika maam recently and asked her why we rarely get roles like hers in Kushi or Simran's in Vaali. In Hindi, just see the variety of roles actors such as Priyanka Chopra, Kangana Ranaut and Taapsee are getting. We're not here just to make money. We're also hungry for good roles. But it doesn't happen. It's like we're cursed or something.

Whatever I've achieved today is because these directors believed in me. It's because of Manikandan that I got the confidence to keep improving and that's what eventually led me to a female-oriented film like Kanaa. Even when people compliment my performance in Vaanam Kottattum, I feel my base is still Manikandan.

In one of the early days of shoot, I finished performing for a scene and Mani called me aside and said, "Why are you acting so much?" He asked me to reduce it by 50 per cent. We shot it again and then he said, "Now reduce it by 30 per cent." Next take. "Now reduce by 10 per cent." Another take. "Now, five per cent". And finally, when I did nothing, he said, "Cut. That's what I wanted."

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