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PARIPEX - INDIAN JOURNAL OF RESEARCH Volume-7 | Issue-11 | November-2018 | PRINT ISSN No 2250-1991 In Padam Onn Oru Vilapam (2003), the woman projected as victim, pivoting around strong Muslim female characters. These films tries to struggle but fails and thereby reinforce the inequitable have opened up new dimensions for academic inquiry gender relation which they seem to be attacking. In the film, regarding the depiction of women in media. Kilichundan Mampazham (2003) the female protagonist is presented more as an isolated object on display in their traditional 4. OBJECTIVE: exhibitionist role women are simultaneously looked at and Ÿ To study the trends in the portrayal of the Muslim women in displayed, with their appearance coded for strong visual and erotic Malayalam cinema impact. Ÿ To analyze if education has given Islamic women an identity for themselves The movie that released the following year, Perumazhakkalam Ÿ To study if marriage in the lives of Muslim women are being (2004), directed by Kamal focuses on the status issues of women portrayed in a stereotypical way as well as their marriage situation. Amidst all the discrimination Ÿ To locate the various forms of gender violence and to see how and societal pressure that she under goes she was expected to people are active participants, especially in Malayalam cinema protect her husband in all the ways she can to always be on his side. 5. RESEARCH QUESTIONS: RQ 1: How the Muslim women are portrayed in Malayalam After a decade in Mollywood, a new generation movie by Vineeth cinema? Sreenivasan, Thattathin Marayathu (2012), portrayed a strong RQ 2: Whether education has given Islamic women an identity for woman protaganist who belongs to minority community stands themselves? for her right and made men realise that women should be RQ 3: How the Muslim women are being portrayed in a respected for their choice.The stereotyping of women's image stereotypical way? make it mandatory for her to be a perfect combination of certain RQ 4: How various forms of gender violence and people are active typical traits used in an oft-repeated pattern of mythical participants in Malayalam cinema? iconography. 6. METHOD 3. REVIEW OF LITERATURE The study takes a qualitative approach to analyze the portrayal of Ÿ Sheriff Al Sire (2014), Agnee (The Fire): Portrayal of Women Muslim women in Malayalam movies. The selected movies for the in Bangladeshi Cinema examines the images of women were study are Kilichundan Mampazham, Padam Onn Oru Vilapam, portrayed as a good wife or a virtue of sacrifice. In such Perumazhakkalam and Thattathin Marayathu. The study uses circumstances women's role were changing along with the content analysis and mis-en-scene analysis based on four elements social transformations. A Bangladeshi woman was shy, and six parameters. The five parameters taken into consideration cultured and secretive. All of these features were properly for mis-en-scene analysis of the selected movies are title, displayed in the cinema. In Agnee women identity and status performance, close-up and gaze, sets and props and music and was totally different from other traditional Bangla cinema. The sound. The four elements taken for content analysis are education, transformation of helpless woman to a brave person was marriage, modesty or chastity and status of Muslim women. displayed in this movie. But, the storyline of the film falls into the old previously used Bangla film stories. 7. ANALYSIS Ÿ Kumar Parag (2013), Identity of Muslim Women in Hindi The researcher has made a choice of 4 Malayalam films in order to Movies said, identity is an important issue for Muslim women analyse the representation of women there with respect to the as they are frail in power ratio. The study was based on the actual representation. analysis of four Hindi movies, Nikkah (Marriage) released in 1982, Bazaar (Market) released in 1982, Bombay released in 7.1 CONTENT ANALYSIS 1995 and Fiza (Atmosphere) released in 2000. The author 7.1.1 Polygamy/Marriage concluded and said, in these movies women were not treated Ÿ Kilichundan Mampazham -The Muslims consider the idea of in abstract manner. The basic projection of these female Polygamy not as a threat but as a method that is used only protagonists centered on the demand for space, identity and under extraordinary circumstances. In the movie, it is clearly recognition. shown that the first two wives of the man aren't very happy Ÿ Arif Moin (2014), Portrayal of Women in Hindi Films with with his decision to marry another woman. It clearly tells that special reference to Muslim characters examines the men are allowed to marry more than one woman if only he representations of women characters in mainstream Hindi treats all of them equally. The husband needs to provide the movies, with special reference to the changing image of wife/wives emotional, physical support and keep her happy at Muslim women characters. The study revealed that in the films all times. of the 70's and 80's, women characters were portrayed as Ÿ Padam Onnu Oru Vilapam - For Razak, Shahina's husband, it is docile and submissive, unable to articulate their needs even in a marriage of convenience, another wife to slave for him and the face of oppression, or as independent but cruel or hard- please him, and to make enough money to go to Gulf. Razak hearted; more specifically, women characters were portrayed had to use some sedatives to fulfill his sexual desire on as preservers of tradition. Shahina. When Shahina bite him by resisting herself it was his Ÿ Jack Shaheen (2005), Stereotypes: United States: Arab second wife that assists him, Razak's mother was sarcastically Muslim Women as Portrayed in Film examines an analysis on said this occasion as he was lucky enough because when one Arab Muslim women portrayed by Hollywood movies in 1960. wife harmed him while the other one was nursing him. Hollywood's movies have humiliated, demonized, and Ÿ Perumazhakkalam - The couple had to go through a series of eroticized the Muslim women. Arab women were seldom trauma before their parents could accept for the wedding projected to look and behave like most of the viewers. which happened only after their consent. Even after accepting Producers never showed them at home with family, or a girl whole heartedly to be a part of their family, she is the one functioning in the workplace as professionals. Instead of to be blamed as a sign of bad luck for the fortune of Akbar. revealing a common humanity, Hollywood movies from the Ÿ Thattathin Marayathu - Marriage is an important factor in this beginning have fostered irrational dislike and prejudice by movie as the plot revolves around the girl and boy of two their assumption that women under Islam are in a pathetic different communities who fall in love to live together state. throughout their life. Ÿ Shankhamala Ray (2012), Islamic women in films: turning the voyeurs into spectators states that in mass media women are 7.1.2 Status of Muslim women more likely to be shown performing domestic chores or as Ÿ Kilichundan Mampazham -The protagonist enjoyed much sexual objects or as victims who are the natural recipients of freedom in her house before marriage. She use to roam harassment and assault. However, a number of films on Islamic around with her lover and will go to buy things etc. In this film societies made by Islamic and non-Islamic filmmakers are we find that the woman after married does not enjoy much

www.worldwidejournals.com 13 PARIPEX - INDIAN JOURNAL OF RESEARCH Volume-7 | Issue-11 | November-2018 | PRINT ISSN No 2250-1991 freedom in her husband's place. They don't have an opinion, for the male protagonist the heroine is like a ripe mango. The where the men took all the decisions in the house and they just girl was his childhood beloved and she was stolen by the obey whatever they say. people around him. Ironically, the fruit (mango) was stolen by Ÿ Padam Onnu Oru Vilapam - Shahina attends her school still she the other birds around; likewise his lover was stolen by another doesn't get much freedom in her community. She was pushed man. into marriage by her community and not by her mother. Even Ÿ Padam Onnu Oru Vilapam - The title Padam onn oru vilapam when she said she has to continue her studies, the local folks in (Lesson one: A wail), is very much apt to the story since the her community didn't even take her words and the takes the story ends with the moans of small babies that sitting near a decision by themselves. river. 'Vilapam' means a deep moan, the heroine in this film Ÿ Perumazhakkalam -The movie lies in the idea of Razia, saving weep, sob and scream throughout the film and the director her husband from the rope of death for that, she requires the shows her helpless situation and the film ends with a moan of letter of forgiveness from the wife of the murdered. The group of babies and the first thing a baby learn is to cry from heroine Razia takes an independent women's role and goes his/her birth. forward to try to make Ganga, the wife of the murdered to Ÿ Perumazhakkalam -As the title suggests Perumazhakkalam understand her situation and to save her husband. The opinion (while it rains hard), the movie starts with a heavy rain .The of Ganga is not even asked by the family and men took the director tells that the life was much harder for Razia to handle decisions, here the individuality of women is denied. In spite of that life like a heavy rain. Rain gives silence after it showers all, Razia never give up on the hope of bringing her husband hardly. Likewise, she continuously moans and weeps but, back that is shown this movie. atlast everything coming back to normal and she will get her Ÿ Thattathin Marayathu - The director has beautifully portrayed husband back eventhough she suffers a lot. the value of a girl in veil. He respects her for her veil as it is her Ÿ Thattathin Marayathu - The title, Thattathin Marayathu means choice and does not consider her inferior or superior to him due to it. She earns respect from her boyfriend, father and 'Beneath the shadow of the veil' is very apt to the story since friends because of her behavior, education and whole a lot of the film deals with the story of a Muslim girl and tells the things that make her complete but she chooses not to flaunt it, beauty of her 'thattam' and her inner beauty. is what makes her more meaningful to their lives. 7.1.3 Chastity of Muslim women 7.2.2 Performance Ÿ Ÿ Kilichundan Mampazham - Amina resists in the initial stage Kilichundan Mampazham -The heroine in this film doesn't talk for not getting married but later obeys her father and gets much, a submissive helpless character who marries a guy that married to Moidukutty Haji (Sreenivasan) as his third wife. Her was chosen by her parents as a third wife of her husband. modesty is shown throughout the movie. She didn't disrespect Moreover, the sublime portrayal of a woman in visual culture her father's decisions but she agrees to her father's decisions. could be a powerful way of imagining and representing Ÿ Padam Onnu Oru Vilapam - When the community takes selfhood but in this film it's not the case. decision about her life she didn't even said a word against as Ÿ Padam Onnu Oru Vilapam -The heroine in this film plays the part of respect towards the elders. When others convinced her major part of the story, she has done the role of a tenth with the financial condition of her mother she didn't say standarad student, and she even won the national award for anything back to her mother instead she obeyed them by this film. She shows the emotions and expressions as an exact marrying Razak by putting down her dreams. innocent girl in a village which shows her perfection in acting. Ÿ Perumazhakkalam - The role of Muslim man is always Ÿ Perumazhakkalam - The actress bring out all kinds of emotions highlighted in a movie where he works and feeds his family according to the situation. She sobs in most of the scenes; with the money he earns. Razia shows that an ideal Muslim hence the artist tries to reach the pain and sorrows to the woman can also be an independent one and who tries to take audience. In the second part of the film she changes her care of her husband outside the four walls of the home, even if mannerism. She starts to use her feminine strategies in order she is not the monetary earning member of the family. to get what she wants. Towards the end, she receives the letter of forgiveness to be Ÿ Thattathin Marayathu -The hero's performance is an produced at the Court at Saudi Arabia and she saves her important in this story since he is telling about the story and the husband, fulfilling her duty. heroine who is silent, beautiful and showing as a bold Ÿ Thattathin Marayathu - The uncle again threatened her; While character. Aisha comes to meet her father in the hospital by questioning her who let her to come outside the room. In this situation, she 7.2.3 Close-up and gaze was standing without giving any answers to her uncle as part Ÿ Kilichundan Mampazham -In the scenes, the face of the of respect. female character is shed not only with daylight, but also with the lighting projectors. The lover in the film looks into heroine 7.1.4 Education with love, care and respect. But the husband of the heroine Ÿ Kilichundan Mampazham The second wife retaliates and who looks at her in a dominating way as if he has all his right to explains to him that it was written so in the Holy book because touch his wife without even her consent. of the war that occurred in that centuary which killed all the Ÿ Padam Onnu Oru Vilapam - A pan shot that is used when the men and therefore in order to save their wives and not make boy riding a cycle to show the intensity of the subject, along a them orphaned, the men married up to four wives. serious tone. A close up shot of the Razai's baby is shown by Ÿ Padam Onnu Oru Vilapam - She was a bright student in her the cameraman in the film. The heroine always shows a fear class and was keenly interested in studies. There was a scene towards her husband and she was not ready to sleep with since where she chants a Malayalam poem to her friend that got her husband always looks her with a lust in his mind. already married in an early age and had a kid. Even after she Ÿ Perumazhakkalam - The film Perumazhakkalam is got divorced by her husband she went to write her board characterized by an intimate interplay between the actress and exams. These all shows her interest in her studies. the camera. Whenever her eyes is filled with tears, the Ÿ Perumazhakkalam - Education of Razia is not mentioned in the cameraman that focuses on her face, an extreme close-up shot film it concentrates more on her life after marriage. that are used here to show the expressions and emotions. Ÿ Thattathin Marayathu - When compared to other movies, the Ÿ protagonist enjoys a kind of freedom that was more liberal and Thattathin Marayathu - In the song, falling the water drops the one that comes with education. The protagonist in the that are shown in close-up to indicate the romantic mood of film, who gives more importance to their thoughts and dreams the hero. When the heroine takes the pencil, white paper to of their lives. write a letter back, an extreme close up shots are shown for her love and interest towards the hero. 7.2 MIS-EN-SCENE ANALYSIS 7.2.1 Title 7.2.4 Sets and props Ÿ Ÿ Kilichundan Mampazham -The title is very much apt for the Kilichundan Mampazham -The plot that happens in a small film because Kiluchundan Mampazham means a 'ripe mango', village and the market that shown have the props like pots 14 www.worldwidejournals.com PARIPEX - INDIAN JOURNAL OF RESEARCH Volume-7 | Issue-11 | November-2018 | PRINT ISSN No 2250-1991 that made with clay, aluminum vessels ,coirs, bullock cart , woman, and their ultimate triumph. The movie is unique for the cycles, pile of sacks, mats etc. In the climax scene the hero and first time on the silver screen where the love of a Hindu boy and a heroine win their love is shown in front of a setting sun Muslim girl is shown as accepted by their family in the end of the resembles that the problems in their life is solved where both story. The film portrayed a strong woman protagonist who accompany with a small boat. belongs to minority community stands for her right and made men Ÿ Padam Onnu Oru Vilapam - The props in the house are realize that women should be respected for their choice. aluminum plates and pots, buckets, cycle, trees, birds, goats that shown to create a village atmosphere by the director. The 9. CONCLUSION textbook that shown gives a meaning that the director tries to The films give a clear picture of how the representation of the highlight the education of the Muslim girls. Muslim women has been misinterpreted in the films taken into Ÿ Perumazhakkalam -A small village that is shown as a set in the consideration. The idea of stereotyping appears to be contradictory movie. A small boat, umbrellas, goats, parrots, woods, fish in the case of cinema and religion. As far as the religion is concerned, net, the heavy rain, river that is used by the director frequently an ideal Muslim woman is seen as someone who is capable of in the movie. When it rains, the lighting is shown as very low following her dreams yet taking care of her family, respects her like darkness. That darkness creates depth or questions and parents, satisfies her husband and well-educated in the field that the depth at the bottom of all art is something that illuminates interests her. The research focused mainly on trying to identify this the portrayal. stereotyped image of women in the selected movies. Ÿ Thattathin Marayathu - In the beach we can see that toys, balloons, boats, icecreams etc. When the hero writes a love REFERENCES letter to heroine, the room is filled with colourful toys tells the 1. Dwyer, Rachel. (2006).Filming the Gods: Religion and Indian Cinema, London: audience that their love is going to be more colorful and Routledge publications. 2. Jain, Jasbir & Rai, Sudha. (2002).Films and Feminism. Jaipur: Rawat publications. vibrant. 3. Kataria, Pooja. (2007).Women and Media- Changing Roles, Struggle and Impact, New Delhi: Regal Publications. 7.2.5 Music and sound 4. Mudgal, Shakuntala & Vats, S. (1999).Women and Society in India, Faridabad: Om Publications. Ÿ Kilichundan Mampazham -The film is surrounded by pleasant 5. Moin, Arif. (2014). Portrayal of Women in Hindi Films with Special Reference to songs that show the happy moments of the hero and heroine, Muslim Characters. Excellence International Journal of Education and Research, 2(5), pp. 644-653. their dreams for the future etc. Sounds in films makes the 6. Parag, Kumar. (2013). Identity of Muslim Women in Hindi Movies. European shots more realistic, e.g. in the film ,where a picture of birds is Academic Research, 1(6), pp.22-32. accompanied with the sharp sound of flapping wings, making 7. Ray, Shankhamala. (2012). Islamic Women in Films: Turning the Voyeurs into Spectators. Global Media Journal, 3(1), pp.5-10. the spectator feel that he/she has the birds in front of him/her. 8. Sire, Sheriff Al. (2014). Agnee (The Fire): Portrayal of Women in Bangladeshi Ÿ Padam Onnu Oru Vilapam - The music and sound used in the Cinema. European Academic Research, 2(4), pp. 47-60. movie is very fear-provoking and sad. A slow background score that is given by the director, when the divorced ladies go with their babies, along with this scene we can also see a boy who is riding a cycle, to show the intensity of the subject. Ÿ Perumazhakkalam - Film dialogues, sounds or even silence also play important roles in the dialectics of the atmosphere. Razia remains silent in few situations to show the seriousness of a particular scene. The film sound usually aims at increasing the impression of reality. When it rains, the sound gives an ambience of dull and dark atmosphere that is apt to the situation. Ÿ Thattathin Marayathu - The music and sound are almost romantic in this film. This plays an important role; especially this film is accompanied by melodies, fine dialogues, romantic genere of songs and background score.

8. FINDINGS The movie, Kilichundan Mampazham focuses on the aspect of marriage and family in Islam. The movie is a clear depiction of the situation of many women who marry Muslim men who already have wives. They aren't aware of their rights into being married to a man who already have Muslim wives. It also shows clearly the situation of the wives who are not happy about their husbands marrying over and over again. In this movie men are instrumental to decide women's identity, future and the vulnerability of weaker sex is stressed.

The film, Padam Onn Oru Vilapam throws light on the problems of child marriage prevailing in the Muslim community of Kerala. The film discusses the social problem of child marriage and exploitation of women in the name of religion which still persist in the Muslim community. The movie is also of a social commentary on the difficulty and complexity over divorce faced by Muslim women.

The movie, Perumazhakkalam focuses on the status issues of women as well as their marriage situation. The Muslim women depicted in this movie, have been a victim of harassment, disapproval of marriage by families and mostly opening up women to being free and able to take up their own decisions. However, the woman standing up for her husband's rights to bring him back to the home town and to ﬁght for it is the highlight in the movie.

The movie, Thattathin Marayathu depicts the trauma of an inter- religious love of a young Hindu man and a beautiful Muslim