Manichitrathazhu: Remapping the Strategic Con...

Manichitrathazhu: Remapping the Strategic Convergence of Masculinity in Malayalam Cinema

Author Name : Mammed N., Dr A. I. Vilayathullah

ABSTRACT

The paper entitled “Manichitrathazhu: Remapping the Strategic Convergence of Masculinity in Malayalam Cinema” problematizes the cultural and cinematic settings of the masculinity project behind the narrational fabric of the film Manichitrathazhu. The outstanding appeal factor of the film is read from the light of the masculinity studies, approaching the visual text as a panache to the masculinity crisis of the Kerala society in general. The apparent woman-centric stature against the lack of cinematic heroism in the movie is reviewed in the light of the abolition of matriliny in Keralite society and the historic evolution of the political institution of family structure in Malayalam cinema. The difference in proportion of screen space occupied by Ganga/Nagavalli in contrast to the major male characters is analysed as a strategic masculinity step. Sunny, covertly posited as the karanavar, brings in the hegemonic nature of the character and the inner power politics of the movie. Names of Sunny and Nakulan are analysed on their dialectical orientation. ‘Sonny’ implies positing the strategic hero as the son in the altered scenario of patriliny. Nakulan’s symbolic mock sacrifice is highlighted to cleanse the ‘barbaric and polyandrous’ sexual fantasies of the women in wedlock. As a part of the inverse gender approach, how the tharavattamma is craftily converted into a veettamma is also looked into. The director’s part in this masculinity project is brought out with his early movies like Nokketha Doorathu Kannum Nattu, Ente Sooryaputhrikku and  Harikrishnans.

Keywords: Malayalam cinema, Hegemonic Masculinity, Manichitrathazhu, masculinity project, masculinity manoeuvres, thekkini, karanavar.