CHAPTER ONE

MT and his Fictionalised Tales of Myth

“Just write whatever one has to write. Forget the rest”- M T Vasudevan Nair.

Keralite writer M.T. Vasudevan Nair can be seen as the cynosure in Malayalam literature.

A magician with words one who weaves stories that reflect the social dynamics of the

times in which they are set.

The uniqueness in MT’s writing shows his comprehensive nature. The

disintegration of human values and relationship which creates identity crisis, sense of

loss, dehumanisation, alienation from one’s own surroundings etc have been presented in

its depth by MT more than any other writers. Most of his works are aligned towards the

rawness in Malayalam culture and many of them jutted out as path-breakers in the history

of Malayalam literature. He recreated myths into a beautiful blend with a striking

deviation from long heard stories .Malayalam literature has not seen such bold redrafting

till then. As Kamala Das said , the grace of a paradise lost lingers on in MT’s stories.

He was born on 15 July, 1933 in Kudallur in the present day Palakkad district as

the son of T Narayanan Nair and Ammalu Amma. He spent his early days in a village

called Punnayurkulam in the present day Thrissur district. He completed his schooling

from Kumaranelloor high school and obtained a degree in chemistry from Victoria

College, Palakkad {1953}.

M. T. Vasudevan Nair is a script writer and director of Malayalam films. He has

directed seven films and written the screenplay for around 54 films. He won the National
Film Award for Best Screenplay four times for: Oru Vadakkan Veeragatha (1989),

Kadavu (1991), Sadayam (1992), and Parinayam (1994), which is the most by anyone in

the screenplay category.

His first short stories were published in several magazines while he was a youth.

MT’s first literary prize came to him at 17,his short story, Valarthumrigangal’{pet

animals} won first in the world short story competition conducted by New York Herald

Tribune. The noted collections of his stories are , Iruttinte Athmavum, Olavum

Theeravum , Bandhanam , Varikkuzhi , Vanaprastham , Sherlock and Swargam

Thurakkunna Samayam.

MT' s foray into the domain of silver screen was a rewarding one as scriptwriter

for Olavum Theeravum, which fetched him the state film award for best scriptwriter in

1970. But it was Nirmalyam that transformed MT into a man of many parts, and he won

the National Award for the best director and scriptwriter in 1973. The film was all about

the fallouts of economic depression, caused by neglecting practical wisdom and clinging

on to unwarranted religious dogmas. The film was a turning point in the history of

Malayalam cinema. His second directorial venture was Bandhanam in 1978 portraying

the invisible bindings among individuals, even while separated physically. Manhu,

Varikuzhi and Kadavu are his other noted films as director.

MT’s debut novel Naalukettu {The legacy}1958 , has contributed to the renewal

of the literary tradition. It was given the Kerala Sahitya Academy Award in 1959.

Randamoozham {the second turn}1984 ,widely regarded as MT’s masterpiece, retells the

story of The Mahabharatha from the point of view of Bheemsena. He was awarded the
highest literary award in India, Jnanpith in 1995 for his overall contribution to Malayalam

literature. He was won many other awards like Ezhuthachan Award, Padmarajan Award,

J C Daniel Award etc.

MT also found time to share his literary prowess, when he decided to take up the

mantle of editor for the popular Malayalam weekly Mathrubhoomi, from 1968 to 1981.

He has also been at the helm of many literary organizations in the government as well as

non-governmental level, and is presently the chairman of Thunchan Memorial Trust.

MT’s own assessment of mythical stories at varied levels brought into light

different interpretation to historical characters of the same the story. For instance, he

gives the legends woven around the popular story of Perunthachan a new interpretation in

his screenplay. Likewise in the folklore Vadakkan pattu{Northern Ballads} Chandu is

said to have betrayed his cousin because he was jealous of Aromal’s popularity and

abilities .But MT’s Oru Vadakkan Veeragatha presents alternative version of the same

legend as the story is presented from Chandu’s point view , suggesting that grave

injustice has been done to Chandu.

It was not only MT who penned down the chivalrous story of the folklore

Vadakkan pattu but also there were 17 movies based on stories of Kadathanadu and

Tulunadu warriors such as Unniyarcha{1951},Palattu Koman{1962},Thacholi

Othenan{1970},Othenente makan,Aromalunni{1970},Ponnapuram Kotta{1973],Ara

Kallan Mukka Kallan {1974},Thacholi Marumakan Chandu {1974},Thumbolarcha

{1974},Kannapanunni {1977},Thacholi Ambu {1978} ,Kadattanattu Makkam

{1978},Palattu Kunjikannan {1980},Oru Vadakkan Veeragatha {1988},Kadathanadan

Ambadi {1990},Puthooramputhri Unniyarcha {2002},Veeram {2017}

MT’s Oru Vadakkan Veeragatha was an exception from the other 16 movies, in

such a way that he viewed the entire story from a different light and retold the myth from

Chandu’s perspective. While the other 16 movies gave Chandu a consistent anti-heroic

quality, it was only MT who was bold enough to make such a move. The audacity with

which MT twisted the myth brought to life a riveting story.

There are myriad female characters in MT’s stories that gleam with strength. In

his Randamoozham , the characters Draupadi, Hidimbi and Kunthi are portrayed as

strong characters . It is through these three women, that Bhima comes to know about the

essence of life. Here the suppressed voices in a patriarchal universe make the narrative

centre of the text: the voices of the women Hidimbi ,Draupadi,Balandhara and Kunthi.

Feminism lingers in many of his works. MT’s movie Parinayam {marriage}

highlights the role of feminist men in patriarchal systems. MT in this movie explicitly

asserts the importance of having feminist men in patriarchal societies through the

character kunjunni. The movie revolves around Unnimaya, a 16-year old widow from a

Nambothiri family. A social reformer, Kunjunni fights age old beliefs that impose

societal hierarchies. He wants Unnimaya to break the manacles of custom to lead a

peaceful life .The importance of the written word and the indispensability of men like

Kunjunni , who stand up for the wronged even if against their own becomes conspicuous

to an audience that relish MT’s ability to empathize with both man and woman.

Panchagni is a remarkable tale of a woman who puts her commitment to social activism
above everything else including her own love for an adoring man. Panchagni was a

revolutionary success. The women in Panchagni is the by product of a merciless world

that victimizes women as a rule. But she is not ready to take it in a stride or to give in.

Instead she fights back with so much anger.

Even though MT has created such strong men and female characters through his

artistry we can view some of his works having a patriarchal influence. For instance the

movies based on Vadakkanpattu gave primacy to language, dialogues, women characters,

rituals etc. But MT in the course of making Chandu pre-eminent did less justice to

women characters.

From time immemorial young women of Kerala were always caught between

culture and traditional concepts .Traditional cultures expect women to slavishly accept

patriarchal practices. Pursuing her own dreams, ignoring society’s collective interest and

growth were not something that a woman could dream for during that time.

MT gave life to many strong female characters at a time when the society was

manacled by patriarchy. But this very same MT while whitewashing Chandu in Oru

Vadakkan Veeragatha was ignorant to female characters. Some of his films are entirely

constructed by the male perspective for the identification of the male audiences.

The nature of patriarchy which ruled the society is discussed in our project by

throwing light to the lives of different characters in the movie Oru Vadakkan

Veeragatha.
 CHAPTER TWO

The Subordination of Women

Northern Malabar,the ambit within which Kalaripayattu made its origin can be

referred to as the cultural paradise of Kerala. Kalaripayattu is considered as the most

oldest and scientific martial arts. Risen to be the pride of Kerala, it is acknowledged and

respected across the world. The same pride illuminates in Northern Ballads as well.

Northern ballads (Vadakkan Pattukal), collection of Malayalam ballads present sagas of

heroes like Aromal Chekavar, Thacholi Othenan, Kannappa Chekavar , Aromal Unni and

heroines like Unniyarcha. Northern Ballads encompassed in itself a blend of rich culture

and religious practices during that time. Along with this there were tales of brave

warriors.

One such tale is that of Aromal Chekavar, a warrior of the 16th century, a name to

reckon with amongst the bravest of the brave. His life and death have been chronicled

many times, each succeeding generation adding to the tale until it becomes difficult to

separate fact from fiction.

Legend has it that Aromal Chekavar, a scion of the famous Puthooramtharavad,

and his equally famous sister Unniyarcha, were masters of the art of Kalari. Chandu,

brought up by their father, struggles to be on par with his more talented cousins. As they

grew up, Chandu fell in love with Unniyarcha, who rejects him. Flicked on the raw by

both her rejection and his envy of his cousin's superior skills, Chandu, betrays him.
 As was usual amongst the Nair clans, rich men hired well-known warriors to fight

for them. Aromal is hired to fight for a man who has a property dispute with his brother.

In the resulting duel, Aromal's sword breaks off at the hilt. When he accuses Chandu of

betraying him by weakening his sword, Chandu kills his wounded cousin with a

kuthuvilakku. Chandu is later tracked down and killed by Aromalunni, Unniyarcha's son.

So goes the legend.

The film, Oru Vadakkan Veeragatha depicts this story from the perspective of

Chandu who is widely known as Chathiyan Chandu.

Set in the 16th century, the story begins when two youthful warriors come to the

gates of Chandu's residence and challenge him to a duel.

When he learns their antecedents, Chandu remembers his past - one that he has

tried hard to forge

Kannappan Chekavar brings the orphaned son of his estranged sister to his home

Puthooram Veedu. He is accepted by the young Unniyarcha, but Aromal, the eldest son

of the house who is already at the cusp of young adulthood treats him with contempt. The

young Chandu prays fervently that one day his name will also be sung in the annals of the

famed.

As the Chekavar begins to train his nephew along with his son, daughter and other

pupils, he is entranced to see how quickly his nephew picks up their traditional martial

art. Aromal is not pleased to see country cousin rise in his father's estimation. Little

Unniyarcha, however, admires this kind-hearted cousin of hers and treats him with an

affection that is balm to his love-starved soul.

 The dissonance in the relationship between Chandu and Aromal only increases as

the boys grow up to manhood. Aromal's fame begins to grow as he takes part in

tournaments across the length and breadth of the land; Chandu is less flamboyant,

preferring to defer to his illustrious cousin, both out of a respect for his abilities and

because of his undying gratitude to his uncle. His uncle however, knows that his nephew

is a far superior warrior to his son, and tells him so, much to Aromal's chagrin. His

father's praise does not endear Chandu any to Aromal, and they stay as far away from

each other as possible

Unniyarcha and Chandu's childhood affection has deepened into love

However, Aromal, whose dislike of Chandu has only increased over the years,

pledges her troth to Kunjiraman .

To make matters worse, Kunjunooli , another maiden who has made her interest

in Chandu very clear, is married off to Aromal.

Dejected at the turn of events, Chandu leaves home and makes his way to

Tulunad where he undergoes training under Aringodar , a Kalari warrior of repute.

In the meantime, Unniyarcha, whose heart still beats for her lost lover, sends him

a message asking him to meet her at night when her husband is away. A lovesick Chandu

does not hesitate - he traverses miles on horseback and swims across raging torrents to

meet his lover. Unfortunately, Kunjiraman comes back. Frightened for her reputation,

Unniyarcha pretends she is being molested. Cornered, Chandu has no recourse but to

leave. However, the night has earned him another shameful sobriquet - Pennmohi

Chandu.
 Devastated by what he sees as a double betrayal, Chandu rides back to his Guru

and tries to lose himself in training. One day, a feudal lord comes to the Aringodar's

doorstep, asking him to represent him in a property feud with his cousin. It is to be a duel

with his brother's representative, a fight that can have only one outcome. As fate would

have it, the cousin begs Aromal to fight for him.

Kannappa Chekavar is perturbed. He knows well enough that while the Aringodar

is a warrior equal to Aromal in ability, he does not have the experience. Besides, Aromal

has a temper. And unlike Chandu, to whom the sword is an extension of himself,

Aromal's sword is only a weapon. He offers to fight for the naaduvazhi , but when the

ruler balks, asks him to find another mercenary. Aromal, who comes there, accepts the

offer and makes the naaduvazhi pay through his nose for the honor. Frightened for his

son, Kannappa Chekavar begs his nephew to be Aromal's second. Chandu is in a

dilemma. On the one hand is his uncle to whom he owes so much; on the other, is his

Guru.

Unniyarcha tilts the scales - she promises him that if he became her brother's

second, and they came back victorious, she would leave her husband and become his,

even if her brother objected. No one could fault her for keeping her word. It is as if he's

seen a vision of heaven. Chandu agrees.

As his second, Chandu takes Aromal's swords to the blacksmith for

strengthening, and sharpening. However, Kunji , Aringodar's daughter, is both frightened

for her father's life and jealous that an enemy victory will take Chandu away from her.
She bribes the blacksmith to weaken Aromal's swords by inserting a wooden rivet into

the hilt instead of the metal one.

The duel begins. Aromal's mastery over the art of sword fighting is no match for

Aringodar's experience. He begins to fall back, and to make matters worse, his sword

breaks off at the hilt. As his second, Chandu begs time off Aringodar to replace the

weapon. Cognisant of the unbreakable rules of honor and combat, and the respect that a

Chekavar gives to the ankathattu , Aringodar agrees. As he turns away, unguarded,

weapons lowered, Aromal kills him by throwing the half-broken sword at him. A

distraught Chandu returns to their camp, only to find his cousin accusing him of the vilest

of betrayals. A fight ensues, a weakened Aromal loses his balance, trips over the

traditional lamp, and is fatally wounded.

The news of the Aringodar's death has already spread far and wide, and people

hurry to Aromal's camp to congratulate him. There, they find the bloodied warrior

breathing his last in Chandu's lap. His last words are "Chandu chathichu" .

Chandu escapes the fury of the mob and goes to find the blacksmith, who

confesses that he had deliberately weakened the sword upon Kunji's orders. With death in

his heart, Chandu storms the Aringodar household, where Kunji, hearing about her

father's death, has already hung herself.

Chandu has nowhere to turn. He returns to his childhood home, where he is faced

by a grieving Unniyarcha - her brother's death has turned her love into a deep, undying

hatred. She vows that her son will avenge her brother's death.
 And now, years later, Aromalunni and Kanappanunni have come to fulfill her

vow. The night has passed; Chandu is still reluctant to battle two inexperienced boys.

However, they are not willing to listen and Chandu is unwilling to pick up his sword

against children. An adamant Aromalunni still stands his ground - he will not go back

without the head of the enemy. It is a promise that he has made his mother

Chandu is defeated too. Aromalunni could have been his son if the fates had not

willed otherwise. He cannot bear that Unniyarcha's son will ever face defeat. Despite

everything, his love for her has never ceased to be. He makes the final sacrifice to end a

life with which the fates had played dice.

Chandu Chekavar: A warrior belonging to a mercenary clan. The orphan boy,

Chandu, a quick learner, earns the love and admiration of his uncle, while he is loathed

by his cousin. He is a man tossed aside by life, fated by circumstances to always be

second. He is weak in his love for the one woman he cannot have. And that weakness

loses him the women who love him . Finally, he is a man who is defeated by life itself.

Kannappan Chekavar: Chandu's uncle and a master of the southern style of Kalari

martial arts. He adopts Chandu when the boy loses both his parents and brings him to

Puthooram to live and learn with his cousins.

Aromal Chekavar: Son of Kannappan Chekavar. He is a man who yearns for his

father's approval, and therefore susceptible to the well-placed barbs of his cronies. He is

arrogant, yet respectful of his father's frailty; a brave warrior, yet not beyond stooping to

deceit to win duels, whether it is for a tournament or a duel unto death. He is famous, yet

fated to die a dishonorable death.

 Unniyarcha: A succubus and vixen warrior, sister of AromalChekavar and bride-

to-be of ChanduChekavar .She is sympathetic, lovelorn, arrogant and vengeful by turns.

Aringodar Chekavar: A master of northern Kalari known as "Thulunadan" and

Chandu's second teacher in his lifelong learning discipline.

Kunji: Daughter of Aringodar Chekavar. An epitome of love and dedication. One

who sacrificed her life in order to escape from the guilt of doing wrong.

Kunjinoooli : Aromal Chekavar’s wife. Another female character who was led

down by the shackles of patriarchy. Even though she loved Chandu during her early days

she was forced to marry Aromal later

Thumbolarcha: The woman with whom Aromal had an extramarital affair

Aromalunni : Unniyarcha’s son

Kannapanunni : Aromal Chekavar’s son

In this movie Aromal Chekavar is seen as a symbol of patriarchy. Chandu being

the first victim was discriminated on the basis of his financial status. Aromal always

wanted to be a step ahead of Chandu in terms of his excellence in martial arts. Economic

inequality was a major issue even back then. In the movie it is lucidly explained in the

relation between Chandu and Aromal. Born with a silver spoon in mouth, Aromal had an

undying scorn towards Chandu even at their first meeting. The scene which throws light

to this shows the spectators the disparity between them by the amount of gold their body

is embellished with. While Aromal is seen shining with gold chains, Chandu is seen

bereft of it all. The power experienced by wealth is what we can see through the instance.
But wealth is not the key factor for success in life is what is viewed thereafter. The

passion and dedication with which Chandu excels in martial arts makes him the cynosure

in Kannapa Chekavar's eyes. Aromal who lacks that fervour in him uses his sword as a

mere weapon which makes the spectators gather his characteristics in a negative light.

The symbol of patriarchy is etched into this character as we can see shades of it

spreading across. The very aspect of an extramarital relationship with Thumbolarcha

makes Aromal Chekavar a treacherous being lingering in the bounds of patriarchy.

Kunjunooli, the wife of Aromal is a submissive character who survives under the

patriarchal rules and who cannot voice her disregard for her husband's deceit.

Patriarchy enjoyed this freedom where everyone turned deaf ears to the harrowing

yet very common stories of men relishing their lives. The movie also makes patriarchy

conspicuous through the instance of Aromal making Unniyarcha renege on her wedding

with Chandu. Bonded together from their childhood and having conducted a child

marriage, Unniyarcha is forced by Aromal to leave Chandu and marry the wealthy

Aatumanammel Kunjiraman. Wealth and male dominance performs its function to

suppress yet another female.

MT’s mastery is gauged by the thought provoking changes he made to age old

stories in Malayalam. One such major breakthrough is the transition of Chathiyan

Chandu to Chandu-The Hero. With MT’s unique treatment myths were shattered and

Chandu became a chivalrous tragic hero, with his own tragic flaws and his actions

presented in an unseen light. The real life character Chandu had many shades and went

through several transformations in his life’s journey from being an honest and honorable
warrior to someone who was seduced by ambition and power, and eventually ended up

being a tyrant. All these took the form of an engrossing story in MT’s mind and thus

Chandu was given a new life.

But filling all the voids with positive traits in Chandu , MT raised the patriarchal

levels in him as well. Folktales made him a womanizer, betrayer, murderer in cold-blood

of his cousin Aromal. In the movie Chandu grows up to be a being of many complexes.

His experiences with Unniyarcha make him judgmental to all the female characters. The

notion that woman being perfidious humans is what is understood from Chandu’s harsh

words. Chandu never tries to see from the perspective of women such as Kunji and

Kunjunooli. He is portrayed as an assertive man who is blinded with thoughts of women

being always treacherous. The instance where Kunji enquirers about the whereabouts of

Unniyarcha , Chandu with profound conviction strikes back with strong accusations

towards the women folk. Chandu is hesitant to give back the love to women who are

solicitous towards him.

It is through a few female characters that MT exposes the bitter conditions of

women who were forced to suffer throughout their lives. Though Unniyarcha, the only

daughter of Kannappa Chekavar is portrayed as a woman warrior who has enjoyed a

great deal of freedom than any other women of the time, it is possible to view how elitist

conventions of her society has brought ruins to her life.

Unniyarcha goes through the social practice of child marriage during her

childhood days. Unniyarcha gets betrothed to Chandu and from thereon she gets the

privilege to look upon Chandu as her future husband. Although they dreamt of embarking
on a new journey together they were meant to be yet another star crossed lovers in life.

The controlling and subjugatory decision of Aromal Chekavar restricts her marriage with

Chandu. Being a woman, she could not fight against the decision taken by her brother.

Unniyarcha gets married to Aatumanammel Kunjiraman suffering the pangs of separation

from her first love. Even though this was the reality, Chandu's skeptical mind asserted

that wealth is always a woman' s love.

Through a later conversation between Chandu and Unniyarcha, viewers get a

vague outline of Unniyarcha's condition in her in law's house. Despite being a legendary

woman, she is cornered around the four walls of the house and is never allowed to

practice Kalaripayattu.

Unniyarcha’s undying love for Chandu kindled in her a wish which was deemed a

daring act to other women. She wanted to blossom her love one night and invited him to

her husband’s house. Suddenly when her husband arrives she acts as if she has no role in

their meeting. This shows a woman's helplessness when it comes to relationships. Even

though still living in Chandu's memories and having a wish to live with him, she

suddenly becomes conscious about the consequences a woman has to suffer if caught

with an extramarital affair unlike men. Women who are considered as a possession or a

private property by men after marriage, has no right to think beyond the boundary lines of

familial concerns. The Indian system of arranged marriages institutionalizes the lack of

fulfillment of feminine desire whereby women become tokens of exchange within the

patriarchal economy that reinforces male guardianship of women.

 Marriage holds primacy in one's life. And thus one can say that it was Aromal's

demanding attitude on making a decision for Unniyarcha which paved way for a drastic

change in her life. Despite all the ramifications she underwent throughout for this

patriarchal hegemony, she still had the dying embers of love for her brother. The instance

where Unniyarcha pleads Chandu to accompany Aromal as his second in the end fight

and her promise to be with Chandu forever makes the spectators see the devotion in her.

MT portrays Kunji as a woman belonging to a typical aristocratic family who

depends on the male section for their very survival. Kunji has only her father as family.

So she becomes over conscious about her father's life when he promises to fight in the

duel as that would become a question over her survival too. Kunji finds herself helpless

when she discovers that Chandu would accompany Aromal. It was her circumstances that

made her bribe the iron smith to do malpractice in making the sword. Her fear of losing

her only pillar of survival makes her think about a life she has to live without male

support. Kunjunooli is one such character who is deprived the freedom to raise her voice

even before her husband. Kunjunooli even after knowing his affair with Thumbolarcha is

vulnerable. This leads to her fear of questioning Aromal. She is forced to suffer in order

to keep her marriage live.

These are some of the dialogues that reflect the predicament of women in this

movie.

( Chandu about Unniyarcha) - Only Unniyarcha can say that. Her tongue is sharper than

the sword anyday.

(Chandu indirectly insulting women of/for having easy virtue) - Easier if you tell your

mother's name. Aromal often granted sons to lucky women when he saw his chance.

(Chandu showing his anger on women folk) - All women, including you-you see what no

one does. You curse while you flirt. Cry while you laugh. Love while you talk. If you've

anymore tactics, please teach me.

(Unniyarcha's plight in her husband's house) - You think they showered me in pearls and

covered me with gold in that place??

They consider servants as waste of money, so i do all work. I must lift every pail

of water I bathe with. And when I practice my sword slashing, the sound echoes in the

house.

Mother advised me not to practise anymore.

( Aromal replying Chandu about his decision on Unniyarcha's marriage with

Kunjiraman) -

Chandu: Cousin, I was engaged to her in our youth.

Aromal: That was just an old-fashioned custom to fool the kids.

MT’s stories are mostly of the individual tormented by denial, submission,

humiliation and defeats against the backdrop of the feudal Nair household on its decline.

The role of motherhood is usually lifted high in respect to other female characters. Even

though the male or the father being the financial support in a family the female or the

mother with her patience and altruistic character takes care of the whole household. A

mother is an idolized character in many of his stories.

 The heroines reflect a world of woe and their language is the language of the

mute; for they see all, hear all, yet dare not to voice the desire of their souls.

Parukutty in Naalukettu leads a life in accordance with the deemed decorum of

the famed Vadakkepaatutaravad. Born and brought up and educated inside the four walls

of her home , she was allowed to leave its interiors to see the world outside only when

she went to bathe in the nearby river when the water in the family pond turned muddy.

Parukutty loses her heart to the young Konthunny Nair. But women were seen just as

commodities and possessions that could be utilized economically. Although Parukutty’s

mother knows her daughter’s mind the mother can only look on when Parukutty’s

marriage is fixed with an elderly man, a divorcee twice.

M.T. Vasudevan Nair highlights those aspects society considered ornamental to

women. Modesty was meant only for the female and ideologies of womanhood were

adopted, adapted and transformed to effect control over the women folk. Silent suffering

was mostly her lot and many of them were doomed to live loveless and forlorn lives in

which they negotiated their subordinate roles and seasoned their minds to suffering. The

powers to be, staked their claims over the land and over the minds of the womenfolk who

could not repudiate their debilitating patriarchal prescriptions. Women remained passive

and submissive keeping away from the mainstream yet being an integral part of it. They

had a narrow space in the world of men; they knew their space and lived within its

boundaries. A representative of the sorrowful woman we come across in Kunjoppol:

Kunjopolu (younger sister) in standing. The smoke from the chimney lamp

swirled in front of her withered face. Seeing the woman's form with bent face and half
shut eyes, his mind melted. The hair spread out like rough coir strands. Her blouse and

loin cloth that had turned yellowish with repeated washing smelt of dampness, he saw the

picture clearly in the light of the lamp she held in her left hand .

When shed of the mythological halo, the characters in Randamoozham became

ordinary men in flesh and blood with emotions and passions natural and human. Hence

Randamoozham becomes a story of a larger family of very ancient times. Marriage by

levirate or niyoga throws light on the position that women held. The pitfalls in the path

of an unmarried woman were many and so a woman got married by duty of compulsion

so that she may not defile her clan or family.

Were the husbands as devoted as their spouses is another question . The men all

had their lawfully wedded wives and also took other wives. The Pandavas had other

wives besides the royal one, Draupati. They were loyal to her to the utmost and in her

they found the pursuit of their regal and royal duties. Arjuna before he joined Draupati in

wedlock stole away Subhadra. Bhima had Hidumbi and Balandhara. Yudhishtira had

only his dharmapatni and she remained his partner in the discharge of all his kingly duties

and spiritual rites. The relations between the husband and the wife were determined by

the principle that there should be an absolute identity in their aesthetic, material and

moral interests. They are invariably united in the realization of their aims and ambitions.

The adult life of a woman was traditionally based on her status as a wife. The

traditional practice of settlement of marriage was the mutual agreement of the parents of

the spouses. Marriage partners were selected by the family elders without consultation of

the prospective spouses.

 In the novel Kaalam , MT portrays the protagonist Sethu Madhavan as an

ambitious and confident adolescent but who is faced with an overwhelming sense of

disillusionment in his journey towards adulthood. Sethu is seen with numerous romantic

escapades which he flings according to his whims. In the end when he reaches back to his

homeland Sumitra makes a revelation to Sethu by saying that he had love only for one

person all the while and that was for Sethu himself.

The eco-feminist theme of patriarchal domination and exploitation gains more

prominence in Manhu . It reveals the story of a lonely mind.

Burrowing deep into the subordination of women characters one can ponder over

what Virginia Woolf’s essay A Room of One’s Own had within itself. An extract from

the same goes as follows:

All these relationships between women, I thought, rapidly recalling the splendid

gallery of fictitious women, are too simple. ... And I tried to remember any case in the

course of my reading where two women are represented as friends. ... They are now and

then mothers and daughters. But almost without exception they are shown in their

relation to men. It was strange to think that all the great women of fiction were, until

Jane Austen's day, not only seen by the other sex, but seen only in relation to the other

sex.

This is pertinent in the movie Oru Vadakkan Veeragatha where women are

always seen in relation to man who faces an unremitting impediment throughout their

lives.
 CHAPTER THREE

Much has been said by critics and researchers regarding the status of

M.T.Vasudevan Nair’s writings as loud laments over the decay of the feudal system in

Kerala and the cultural practices associated with it. His characters, especially the heroes,

were portrayed as condescending and dominant before the classes that are lower in status

in the general psyche, for being chauvinistic before women, for being disgustingly

individualistic in their relationship with the society and for being superfluously nostalgic

about their childhood, adolescence or youth spent in a feudal set-up.

The emancipated woman of the most modern days, the woman who knows what she

wants and how to take it, is a far cry from the earlier concept of a typical 'Malayalee'

woman, the meek and docile one that abounds in the novels of the novelist M.T.

Vasudevan Nair. He is adept at the portrayal of the woman of a Malayalee's vision in the

earlier part of the century. The lives of the women in Nair Taravadu under the unrelenting

eye of the Karanavar, their sorrows and sighs that echo and re-echo in the dark corridors

of the Naalukettu are poignantly, rather wistfully too, pictured by the master artist of

novel writing.
 The sighs and stifled sobs of the women trapped in the four walls of their big

Naalukettu rend the atmosphere of the women's world in MT’s creations. In the daily

business of their lives they are wounded and helpless and have only a bleak future before

them. M.T.'s women seem to have no notion of their status in their homes or society in

which they live. In the novels of M.T., it is hard to find any woman who longs for her

freedom or strives to free herself from the crumbling and degenerating social conditions.

(Mathai M.P. 25).

Their lives were channelled out for the benefit of others. Difference in training ,

experience and expectations, produce diffidence and timidity in women. Yet they are

capable of incredible courage, stamina and commitment. It is only Parukutty's

(Naalukettu) blind faith in the man of her heart more than her courage, that makes her

take the plunge. She finds her saviour in Konthuny Nair who whisks off his bride on the

eve of her wedding day. For her disobedience to the Karanavar's wishes, she is cast off as

dead by her people, and they underwent the purification bath. The Karanavar ruled

unchallenged by the members of the taravad. Adored and reviled, worshipped and

enslaved, the image of woman as well as her place in the family is the natural outcome of

masculist values and needs. More than a convenience, the subordination of women was a

necessity back then. Economically, politically, biologically, psycologically, it was the

foundation on which the entire structure rested.

Manhu is a silent song of sorrow. Vimala is yet another character who is resigned to her

fate, waiting for her lover, ready to wait till eternity. Loneliness and solitude, is the theme

of the novel. Vimala is the heroine who has won her special place among the many and

variegated women created by M.T. . She is the symbol of every woman waiting for her
love's fulfillment. Vimala keeps on waiting perennially for Sushilkumar Mishra, on the

banks of Nainital, hoping against hope. The novel Manhu is not a mere attempt to relate

a story but it is the rendering of a woman's life, of the working of her mind that finds the

meaning of her very sojourn in the world. Men consider females rather as women than

human creatures, and are anxious to make them alluring mistresses than affectionate

wives and rational mothers.

Unniyarcha, the famed warrior heroine of Vadakkanpaatu , is the only female

icon that Kerala has ever known. The passage of centuries and the paucity of written

records have not dimmed the fascinating portrait of a woman who surpassed the men in

valour and style. Passed down the ages by oral tradition, the northern ballads extol her

beauty and bravery, her consummate skill in the art of Kalaripayattu, her social

consciousness and staunch pro-woman stance, her fierce independence and her terrible

vendetta.

Unniyarcha was portrayed as a deceitful and adulterous character in the movie

and this was insidiously imprinted on the public mind. MT redesigned the original story

to suit patriarchal attitudes and, in an endeavour to absolve Chandu of guilt, hacked

Unniyarcha’s image. The film conveyed an unambiguous message: It is not the man who

is treacherous – the real betrayer is always a woman.

But her courage is revealed through her real life incident where she had to fight

the hooligans of Nadapuram village in order to save the life of her husband. Seeing the

meek character of her husband she bravely retorted:

I being a woman does not shiver,

While you a man do shudder

to see these hooligans.

I don’t care even if they are thousands as I belong to Puthooram family.