© 2019 JETIR June 2019, Volume 6, Issue 6 www.jetir.org (ISSN-2349-5162) THE POLITICS OF LOVE, SEXUALITY AND FAMILY IN PURANACINEMAS IN MALAYALAM: WITH SPECIAL FOCUS ON KUMARASAMBHAVAM Divya K, Assistant Professor (Contract Basis) Centre for Comparative Literature Sree Sankaracharya University of Sanskri, Kalady, Cochin.

Abstract: Indian epics or Puranas have catered to the birth of Indian cinema; they paved way for a new genre of Purana Cinema (mythological films). Our culture is home to Puranas or epics. Their translations and free interpretations preserved the legacy of our culture. Films have tried to provide free interpretation by retaining the essence of these epics. Moreover, these films portrayed the socio-cultural and political scenarios of the contemporary age. The film Kumarasambavam (1969) portrays the story of Kumara, who was born to kill Tarakasura. This study analyses how this epic intermingles with the socio-cultural politics of that age. Translation and Cinema Translation is generally known as a process of transferring a language to another. Translation always meets with the question of justice to the source text. While examining the history of Bible translation, it becomes clear that the European tradition strongly advocates the need for having justice to the source text. The medieval clergy had taken a strong stand against Bible translation. But by the 19th Century, translating Bible into regional languages becomes a crucial slogan for the Protestant Reformation. And accordingly a large number of Bible translations appear during 19th and 20th Centuries. But all these were word to word translation i.e., translations done with the justice to the source text. This was mainly due to the belief that Bible is religious text and is far from changes or interpretations. At the same time, India followed a different tradition of translation. The Indian translators put forward the method of translation surpassing the concept of source text with least priority to trust or justice. The rich variety is explicit in our Ramayana and Mahabharata translation. The interpretations of epic texts like Ramayana and Mahabharata gave birth to polyphonic narratives. Themes, narrative devices, and perspectives of the source texts were adapted by the translators, gave an interpretative approach by pioneering an aesthetic field of translation. As Ayyappa Panicker notes, “the word ‘vivarthanam’ or ‘translation’ is derived from the Sanskrit word ‘vivarth’. World itself is a progeny of brahma.” Nature that surrounds us hosts diverse imperishable phenomena. Translation is only a strand among various occurrences that the text is subject to” (Satchidanandan, 2012:12). Original text and its translation cannot be described on the same plane. Along with paintings and other traditional art forms like Kathakali, Koodiyattam and Yakshaganam, cinema, the newer addition to the entertainment sector, also joins hands in this tradition of translation of Epics and Puranas by adapting them into screen. But in cinema, the formation of the text of Puranas and Epics is much more complex. Even though there are wide, different and grand possibilities of formation of Puranic and Epic texts, cinema always creates or internalizes a monotonous text. When it comes to cinema, the different texts or stories of epic and Puranas which is already existed in the consciousness of the Populace either got rejected or become unimportant and create a new one. Finest example of this juxtaposition can be seen in the film Kumarasambhavam. It is an adaptation of the puranic story which tells the birth of Kumara, the son of Lord Siva and Parvathy and his aim of Incarnation, that is to kill the Demon Tharaka. This paper looks into how the birth of Kumara and his journey of life are intermingled with the political and social milieu at time JETIR1906X18 Journal of Emerging Technologies and Innovative Research (JETIR) www.jetir.org 923

© 2019 JETIR June 2019, Volume 6, Issue 6 www.jetir.org (ISSN-2349-5162) of its release. The analysis is done on the view that the process of adaptation is influenced by the cultural politics of the time. Anti-Imperial ideology and Purana Cinema Indian cinema took its baby steps with the film Raja Harishchandra (1913), a Dada Saheb Phalke directorial. Even though the film is based on an episode in Indian mythology, political and social condition that existed at the time of its making has had a great influence on the film. As P.S. Radhakrishnan, writer- critic, clearly puts, early stages of Indian cinema witnessed a plethora of films based on Hindu mythology like Savithri (1914), Lankadahanam (1917), Sreekrishna Janm (1918), Bhakthaprahlada (1926). However, in all these films, themes of anti-imperialism came to the forefront while spirituality took a backseat. (Radhakrishnan, 2013: 22). Phalke’s nationalist ideology was inherent in all his films. Kanjibhai Rathod’s Bhakta Vidur (1921) implicitly questioned Rowlatt Act of the British Raj. As a consequence, the film was banned in Calcutta and Madras presidencies. The accusation of motivating people towards adopting the Civil Disobedience Movement loomed over these films. Moreover, portraying Vidur as Gandhi also called forth controversy. The censor board questioned the portrayal of Vidur donning a Gandhi cap and khadi shirt (ibid, 2013: 22). Freedom struggle was the main theme of almost all the films that released in the early twentieth century. Purana Cinemas in Malayalam: But, Independence struggle became a major theme in Malayalam cinema only in the later stages. J. C. Daniel’s Vigathakumaran (1928) and R. Sundararaj’s (producer) Marthandavarma (1933) dealt with social issues of their respective time periods. Establishment of Kunchako’s Udaya Studio and Merryland Studio is great milestone in Malayalam film history. These studios brought prosperity to Malayalam films in terms of content by exploring new generations and experimentations. This glorious period marked the birth of detective films, historical films, Vadakkanpattu Cinemakal, etc. Malayalam was secure in the hands of Kunchako and P. Subramaniam, thereby witnessing a perfect confluence of material prosperity and good content. The trend of mythological film in Malayalam triggered off from Prahlada (1941), directed by K. Subramaniam. Including the one dubbed from other languages, Malayalam film industry, from 1941-93, has contributed fifty-eight films to the genre of Purana Cinema (Balachandran Nair, 2009). Stories tend to overlap in various Puranas. Birth of Kumara and killing of Thaarakaasura appear in ‘Skandapurana,’ ‘Vishnupurana,’ ‘Sivapurana,’ and ‘Kaalikapurana.’ Likewise, the plot of films Kumarasambhavam (1969) and Sree Murugan (1977) also find common point of convergence. Even though films like Sivamahima (1981), Krishnakuchela (1961), Sreekrishnaleela (1971), Bhakthadhruva Markandeya (1947) are based on different Puranas, they come under the umbrella of Hindu mythological films. Alphonsa (1952), Jnanasundari (1961), Snaapakayohannan (1963), Kadamattathachan (1966) and Velankanni Maathaavu (1977) are based on Christian tales while Laila Majnu (1962), Anarkali (1966), Allahu Akbar (1977) and Muhammadum Mustafayum (1978) are based on Islamic lores. Episodes of Mahabharata and Ramayana come alive on the silver screen through Prahlada (1941), Sreemad Bhagavat Gita (1977), Sathyavan Savithri (1977), Yashoda Krishna (1975), Sita (1960), Sita Rama Kalyanam (1961), Sreerama Pattabhishekam (1962), Sitaswayamvaram (1976) and Bhakta Hanuman (1980). Regional myths have also been added into films like Sree Guruvayoorappan (1964), Sabarimala Sree Dharma Shastha (1970), Krishna Guruvayoorappa (1984), Kodungallooramma (1968), Chottanikkara Amma (1976) and Amme Narayana (1984). In short, the genre Puranacinema in Malayalam has multiple and complex layers and structures.

‘Kumarasambhavam’ in Post Renaissance Kerala ‘Kumarasambhavam’ is an epic poem by Kalidasa. It celebrates the love story of Siva and Parvati whose passionate union results in the birth of their son Kumara. Siva and Parvathi are destined to be the parents of Kumara as only the son of Siva can kill the demon, Tharaka. The poem begins with a luminous description of birth of Parvati, and develops pitched sensuous details through her courtship with Siva until the night of their wedding. The poet left the killing part untold. Kumarasambhavam is widely considered as the finest and greatest work of Kalidasa.

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© 2019 JETIR June 2019, Volume 6, Issue 6 www.jetir.org (ISSN-2349-5162) Through epics and regional myths, Kumaran has always held a special place in the minds of Keralites. He adorns various names like Subramanian, Murugan, Karthikeyan, etc. A. R. Raja Raja Varma’s translation of Kalidasa’s ‘Kumarasambhavam’ further popularized the story of Kumara among the masses.1 Translation was released in 1897 under the title ‘Bhashakumarasambhavam’. ‘Kumarasambhavam’ was translated by many including Kuttikrishna Marar (1974) and K.M. Paniker (1953). The story of Kumara also can be seen in the Balakanda of Valmiki Ramayana (Sankunni Nair, 2004:117). P. Subramaniam’s Purana Cinema in the same title Kumarasambhavam (1969) is undoubtedly one of the greatest films Malayalam industry can boast about. Son of Lord Siva and Parvati, Kumara has always been of interest to Indian cinema. His marriage to Valli, who hails from the tribal community, has always captured the attention of cine-makers. Tamil film Sree Skandaleela (1938) is thought to be the first film based on the life of Karthikeya. A. P. Nagarajan’s film Kandan Karunai (1967) also follows the same plotline (Vijayakumar B, 2012). Screenplay of the film Kumarasambhavam was written by Nagavalli R. S. Kurup. He was a scholar in Puranas and Epics. It can be told that besides the stories of Kumara prevailed in Kerala, the translations of the play ‘Kumarasambhavam’ of Kalidasa may also influence the screenplay writer. Cinema got released in 1969. By the time, the translation of Kumarasambhavam had gained a space in the intellectual sphere of Kerala. So we can undoubtedly say that the ‘Kalidasa Kumarasambhavam’ was in the mind of the screenplay writer when he thinks of writing a screen play the Kumara myth. Moreover, the story of the film is more similar to the play Kumarasambhavam.2 Most of the South Indian films portrait the story of Muruga’s marriage with the tribal girl Valli.3 But in Malayalam version, though the aim of incarnation of Kumara is presented in a devotional tone, the love between Siva and Parvathy, their marriage and family life also presented with equal important. One interesting fact about Siva is that he is the only god who has a family, consisting of himself Parvathi, Kumara and Ganapathi, which is obviously not a joint family. His family is also an example of modern-day nuclear family. Thus, it goes against the joint family concept and the matrilineal custom that existed in Kerala. Moreover, the concepts it upholds about love and sexuality is the concept formulated by the Modernity.

The film starts with Himavaan and his wife concerned about their daughter Parvathi’s marriage, whose beauty is unparalleled in any of the three worlds. Their concern shows how an unmarried daughter becomes a burden for her parents. Parvathi is the reincarnation of Sati, the first wife of Siva, who had to face death as a result of choosing her husband without the approval of her father, Daksha. Her ‘unconventional’ marriage ended in a tragic note. Parvati is deeply in love with the Lord Siva. But Siva after the death of Sati, has vowed never to marry. Parvati is very adamant in winning the heart of Siva. She goes for great penance without caring how much harsh is changing climate on her. Pleased by the penance of Parvati, Siva appears before her and agrees to marry. Parvati’s response to his proposal was like thus: “Lord, I am a virgin. I’ll only marry you with my parents’ blessings.” But in the Kalidasa Kumarasambhava, in the same context, Parvati says to Siva that only her father has the right to marry of her to Siva. She doesn’t say anything about virginity (Raja Raja Varma , 2004: 789). In ‘Skanada Purana’ too Parvati doesn’t mention about virginity (Poulose, 2014:121). But in the film, Parvati says in the same context that she is a virgin. With this comment, Parvati is underling the importance women of being virgin till marriage. It seems Parvati is also trying to correct the ‘mistake’ committed by her in her past life for marrying Siva against her father’s wish. The film brilliantly depicted the love and longing of Parvati for Siva. The love and sexual relationship between women and men in the Nation-State is totally different from that of the Feudal period.

1 The translation work of Kumarasambhavam was started in the year 1069, by 1070 it was completed, and in 1072 the translated version was published (M. Bageerathi Ammathampuran, 1963:189).

2 When Nagavally R S was asked by Subramanyam to write the script for Kumarasambavam, he first read the epic Kumarasambavam, but the source text lacked in-depth information about Kumaran. The epic detailed the events that led to the marriage of Shiva and Parvathi. For further research he referred books like Shivapurana and Epic Dictionaries (Beena Rangini, 2015). 3 In a song from Nattina (82), it is mentioned that Kumaran married Kurava woman Valli (Shankunni Nayar, 2004:119).

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© 2019 JETIR June 2019, Volume 6, Issue 6 www.jetir.org (ISSN-2349-5162) The relationships in the feudal period were designed to perpetuate the power of Naduvazhi (Landlord) system and were polyandrous. But in the Nation-State, it is like ‘one man-one woman relationships, i.e. monogamous relations. The renaissance movements in Kerala were the strong advocates of monogamous relationships. P Geetha observes: the age of renaissance and social reforms saw the rise of a new dawn, where the very notion of womanhood changed its facet. Unconditional love pierced the heart of women with revolution. It gave her immense strength to challenge the dark realities of society-caste, religion and race. The notions of love helped to revision and revise the hierarchical man-woman relationship, which was prevalent in the society (2011: 996). But conversely, this film, which is a part and parcel of the renaissance era doesn’t conform to these progressive attitudes, instead, it is trying to reinstall and re-affirm the patriarchal dichotomy that ruled the world. The ideology of purity, virginity, and matrimony was again stereotyped in this film.

The 8th Sarga of Kalidasa Kumarasambavam includes the long narration of the sexual relationship between Siva and Parvati. Kalidasa portrays the intransient Shiva, who is reluctant to part himself from the bosom of Parvati. The unquenchable sexual urge of Shiva is portrayed by Kalidasa beautifully through his words. “He slumbered for a short span when the moon hid himself. He woke up in the dawn with the welcoming blooming lotuses and the beautiful songs of Kinnara’s. He stopped his love, who was draping her clothes, his aesthetic thrive adored the beauty of Parvati, who stood there with her bruised low lip, smudged bindi and reddish tiresome eye. He didn’t get up from the love filled bed, neither had he given his admirers his holy vision. He spent the whole one hundred and fifty seasons like a single night’(Raja Raja Varma, 2004: 884). One thing to be noticed here is that Kalidasa portrayed the marital union or sex, not the premarital union or sex, but its film version neglected both. They have tried to wipe out even the slightest glance of sex by making it a ‘taboo’. The genre of Mythological came at a time when the wave of renaissance and reformation hit the shore of Kerala. The genre rose at a time when the debate and discussion for ‘Aikya Keralam’(Unified Kerala) was on its zenith, and it developed when the dream of ‘Aikya Keralam’ got fulfilled. This was also the time when the concepts and ideologies on matters of culture and tradition were being redefined and structured, the notion of ‘Malayalee women’ and ‘malayalee family’ was on the apex of formation. The new era redefined everything from relationships to family that was the soul of the society. The Victorian ideologies and so called civilization invaded the free spirited cultural scenario of Kerala through mediums like literature, art and film, the film Kumarasambavam shows this. The concepts of virginity, nuclear family, monogamy, sacrificial women, and taboo on sex related matters became perceived morality, and the film portrayed this magnificently. Monogamy and nuclear family system came to Kerala after colonialism. The notion of love and sex was bound inside the cage of marriage. British missionaries weaponized education to propagate their ideologies and culture in the name of development and westernization, M R Raghava Warrier observes (2006: 69). The culture and life of the people of Kerala was labelled as uncivilized and immoral by the British, and they put forward the ideology of Victorian morality as the righteous way of living. Herman Gundert in his book Malayalathinte Bhoomishastrathodukoodiya Charitram’ slandered Marumakkathaayam as a curse, and he explained the lack of matrimony as a reason for this system (Ibid: 2006:16). The reformation committee reports put forth under the guidance and assurance of constitution also slandered the inherent tradition of Marumakkathayam, Joint family, and Sambhandam. They openly labelled women of Kerala as Prostitutes, and men as henpecks. These report showed the rush of Kerala society to accept the western tradition and culture, for that the age old traditions like Marumakkathayam, Sambandham and joint family system were neglected. The colonial and Victorian morality were accepted without a second thought, but instead of liberating society, the new contrived norms and culture manipulated and compressed the freedom and individuality of man under the label of morality. They redefined the notion of women, sex, and family by stereotyping them. And the film adaptation of Kumarasambhavam blindly imbibed these Victorian ideology and propagated them. If we consider other films like Seetha (1960) Shakuntala (1965), Satyavan Savithri (1977), they also catered to the same propagational ideology, which adored Victorian norms. Women’s like Seetha and Savitri were the allegorical symbols of virtuous woman. Women were showcased as a sacrificial element, in Seetha, she is portrayed as a woman who adored her husband even after her husband Rama left her alone when she was JETIR1906X18 Journal of Emerging Technologies and Innovative Research (JETIR) www.jetir.org 926

© 2019 JETIR June 2019, Volume 6, Issue 6 www.jetir.org (ISSN-2349-5162) pregnant with his children. In the same way Savithri is portrayed in Sathyavan Savithri as the epitome of sacrificial virtuous woman, who brought her husband’s life from the hands of god of the death, Yama, through her penance and purity. Rama, Satyavan, Shiva, Dushyantha are all epitome of monogamous men. In stories of Krishna, the devotion or Bhakti rasa is highlighted by diminishing the story of Radha Krishna Love relationship. When the lore of Thacholi Othenan was adapted as film, he was portrayed as a monogamous, loving and caring husband and father but in real life he was polyandrous and even tried to captivate women forcefully. It is thought provoking to analyse that among the fifty-eight epic films, none of them possess female characters like Kunti and Draupadi in the lead role. Films like Kumarasambhavam lingered inside the penumbra of pragmatic westernized colonial society, the colonial or western ideology helped in deconstructing the patriarchal feudal mentality of Kerala society, but they never tried to redefine or reform the hierarchical gap, which was an underlying fact that ruled man- woman relationship. This shows the failure in renaissance ideology, which became futile in imbibing the true spirit of renaissance. In such a case the birth of a films like Kumarasambavam cannot be treated as a fortuitous happening, it demonstrates the misconceived colonial or Victorian ideology.

Bibliography Balachandran Nair,Perundanni. 2009. Malayala Cinema: Innale Innu. Thriruvanthapuram: Yavanika Publication & Distribution Trust. Bhaageerathi Ammathampuran. 1963. M. A. R. Raja Raja Varma. Kottayam: National Book Stall. Geetha, P. 2011. ‘Sthreethvam Oru Charithraanveshanam.’ Kerala Samskara Padhanangal, Panmana Ramachandran Nair.Ed. Kottayam: Current Books. George, K.G. 2014. Skanda Puranam.Ed. Kottayam: D. C. Books. Radhakrishnan, P. S. 2013. Drishya Harshathinte Samaya Rekhakal. Thiruvananthapuram: Sahithya Pravarthaka Sangham. Raghava Warrior, M. R. 2006. Ammavazhikeralam. Thrissur: Kerala Sahithya Akademi. Raja Raja Varma, A. R. 2004. Bhasha Kumarasambhavam. Kalidasa Krithikal Sampoornam. Kottayam: D. C. Books. Ranjini, Beena. 2015. Hittukalude Katha. Kottayam: Mahrubhumi Books, Sankunni Nair, M. P. 2004. Chhathravum Chaamaravum.Kottayam: D. C. Books. Satchidanandan,K. 2012.Vivarthanam, Samskaaram, Adhikaaram. Vivarthanavum, Samskaarapadhanavum A. M. Sreedhara Menon.Ed. Saahithi Publication Vijayakumar, B. The Hindu. 7 Jan. 2012. Filmography Subramaniam, P., director. Kumaarasambhavam, Neela Productions, 1969.

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