Reading Duality of Existence in Kerala of the 1980S Through P

Home , Jayaram, John Abraham (director)

Reading Duality of Existence in Kerala of the 1980s through P. Padmarajan’s select films

A Dissertation Submitted in Partial Fulfilment of the Requirements for the Award of the Degree of

Master of Philosophy in English

by Kalyani Nandakumar (Reg. No 1630022)

Under the Supervision of Arya Aiyappan Asst. Professor.

Department of English

CHRIST (DEEMED TO BE UNIVERSITY) BENGALURU, INDIA December 2017

APPROVAL OF DISSERTATION

Dissertation entitled Reading Duality of Existence in Kerala of the 1980s through select films by P. Padmarajan by Kalyani Nandakumar (Reg. No.1630022) is approved for the award of the degree of Master of Philosophy in English

Supervisor:

______

Chairperson:

______

General Research Coordinator

______

Place: Bengaluru

Date: ______

DECLARATION

I, Kalyani Nandakumar, hereby declare that the dissertation, titled ‘Reading Duality of

Existence in Kerala of the 1980s through select films by P. Padmarajan’ is a record of original research work undertaken by me for the award of the degree of Master of Philosophy in English. I have completed this study under the supervision of Dr. Arya Aiyappan, Asst.

Professor and Coordinator of M.A English Studies, Department of English.

I also declare that this dissertation has not been submitted for the award of any degree, diploma, associateship, fellowship or other title. I hereby confirm the originality of the work and that there is no plagiarism in any part of the dissertation.

Place: Bengaluru KalyaniNandakumar Date: Reg. No.1630022 Department of English Christ University, Bengaluru

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CERTIFICATE

This is to certify that the dissertation submitted by Kalyani Nandakumar (Reg. No. 1630022) titled ‘Reading Duality of Existence in Kerala of the 1980s through select films by P.

Padmarajan’ is a record of research work done by him/her during the academic year 2016-

2018under my/our supervision in partial fulfilment for the award of Master of Philosophy in

English Studies.

This dissertation has not been submitted for the award of any degree, diploma, associateship, fellowship or other title. I hereby confirm the originality of the work and that there is no plagiarism in any part of the dissertation.

Place: Bengaluru Dr. Arya Aiyappan Date: Asst. Professor of English Christ University Bengaluru

Head of the Department Department of English Christ University Bengaluru

ACKNOWLEDGEMENTS

It is a special delight to acknowledge my sincere gratitude to Christ University for facilitating and providing an extremely stimulating, inspiring and enriching academic environment for this research. I sincerely thank Rev. Dr. Thomas C Mathew, the Vice

Chancellor and his team, for making available such a platform.

One person who inspired me to focus on cinema is my good friend Midhun Kumar without whom this research and my interest in the field would remain incomplete. I would like to extend my gratitude to my friends Janhavi Chadha, Sohail Guledgudd and Mani

Sankar whose constant support and suggestions helped in making my research find a balance between creativity and academic writing.

C.S Venkiteswaran is an Indian film critic without whose valuable suggestions, my thesis would have been half-baked. Dr. Satyaraj Natesan of NIT Trichy helped conceptualising the difference between theory and the need for theorising on an academic level. Some of the few actors from the films that I had picked, Asokan and Karthika, shared their experiences on the set of these films. They brought Padmarajan’s world closer to me.

I am grateful to the Librarians of the University who were pro-active with ready assistance and help. The Head of the Department of English, Dr. Abhaya N B, who is also my

Internal Examiner, had meticulously worked out the M.Phil programme leaving no stone unturned to see the course progressed bit by bit through thick and thin. Nor less were the efforts of Mr. Joseph Edward Felix, the Coordinator of the English M.Phil course, for, he accompanied us from the beginning to the end guiding every step of ours in this academic pursuit. Sincere thanks are due to all those professors who enlightened us through their lectures on different topics foundational and supplementary to the course.

Finally, my deepest sentiments of gratitude are to my guide Dr. Arya Aiyappan, Asst.

Professor of English and M.A Coordinator of the English Studies Programme, Christ

University. It was her down to earth, critical, timely and patient approach that steered the research in the right direction and to the successful completion as well. Thank you for your shared interest in Padmarajan and your kind treatment towards my constant doubts and queries.

Thanking the Almighty God is not a cliché, but, the most appropriate act of gratitude, for, had it not been for his invisible hand in everything I did, this research, however insignificant it may be, would not have been successful.

Kalyani Nandakumar

ABSTRACT

This research deals with the idea of duality as an angle through which existence has been understood in Kerala of the 1980s through the selected films of Padmarajan. Most academic works that deal with Malayalam Cinema look into the age during which Padmarajan thrived. But they have been viewed from the angles of Middle Stream Cinema. Padmarajan’s films are open to different levels of interpretation and ‘duality’ becomes a key concept while looking through some of his films. The multiple possibilities that the concept of duality puts forth to read people, society and physical areas form as the main crux of this paper. The central focus of this research is to identify what this duality that exists in the films speaks about Kerala of the said time period. The levels at which duality functions speaks not merely of the way in which the human mind functions, but also what influences an individual from the outside. Padmarajan opens up endless possibilities to evaluate the nature of the 1980s. By breaking stereotypes, Padmarajan recreates the idea of what is normally accepted and what isn’t, rewriting the ideas of good and evil and how this defines Kerala of the 1980s.

This research aims at reading duality through the lens of Existentialism and Kantian philosophy. The first chapter is an introduction into what the research aims to deal with by looking at existing literature on the topic. The research in itself will be divided based on duality- External and Internal. The first core chapter titled ‘External Duality’ will analyse the various aspects that are dual in nature, outside of the characters’ lives and will be looked at through the aforementioned theories. Internal, the second core chapter deals with the individual, his/her mind and its’ functionality. This chapter will read the characterisation of the individuals present in the film to arrive at how duality functions on an internal level. The research aims to identify what is real and apparent in the 1980s society through these films.

Following this chapter is the conclusion which will attempt to briefly summarise the chapters and to associate and link the findings from both the core chapters.

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ABSTRACT

Following this chapter is the conclusion which will attempt to briefly summarise the chapters and to associate and link the findings from both the core chapters.

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CONTENTS

READING DUALITY OF EXISTENCE IN KERALA OF THE 1980S THROUGH P.PADMARAJAN'S SELECT FILMS i

APPROVAL OF DISSERTATION ii

DECLARATION iii

CERTIFICATE iv

ACKNOWLEDGEMENTS v

ABSTRACT vii

CONTENTS viii

CHAPTER 1 1

INTRODUCTION AND LITERATURE REVIEW 1

1.1 RESEARCH OBJECTIVE 10

1.2 RESEARCH QUESTIONS 10

1.3 RESEARCH GAP 10

1.4 LITERATURE REVIEW 11

1.5 LIMITATIONS 21

WORKS CITED 24

CHAPTER 2 26

EXTERNAL DUALITY 26

2.1. APPEARANCE 26

2.2. SPACE 30

WORKS CITED 53

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Chapter 1

Introduction

Malayalam Cinema like most other industries has witnessed the growth of schools of thought and movements. Every industry has its golden period that marks it as a time that has seen the best kinds of films. From the theatrical tradition to the newest of achievements in the cinematic field, Malayalam cinema has attempted to create brilliant plots and exceptional characterisation to enhance it. One such time frame that has been critically acclaimed, over time and space is the cinema that raged during the 80s. The period from 1980-1990 has widely been accepted as the Golden Age of Malayalam Cinema. Malayalam Cinema saw a very distinct set of films during this period which till date continues to live on. The one feature that Malayalam Cinema created is the culmination of what we commonly refer to as

Arthouse and popular cinema. Malayalam cinema saw the coming together of these to be commonly referred to as Middle Stream Cinema (Pillai).” Madhyavarthi” cinema became a balance. (Radhakrishnan 28)

Some of the pioneers in this field were P. Padmarajan, upon whom this research will be fundamentally based on, Bharathan and K.G George. This stream of cinema saw its beginning in the 1970s but became a full blown school of thought in the 1980s. What defined

Middle Stream Cinema was how it succeeded at maintaining the profound nature of Parallel

Cinema and the commercial aspects of Popular Cinema. During this period, directors broke all sorts of stereotypes to represent women, sexuality and human relationships. Padmarajan’s films invoke one’s senses and emotions. His movies have inspired the formation of many other kinds of films. Forming as a foundation and paving the way for many directors to come,

Padmarajan was not merely a filmmaker, but also a writer. From Alappuzha in Kerala,

Padmarajan started out his career as an All India Radio news reader before going into writing Nandakumar 2

and then into filmmaking. His stories were popular for its sense of realism, of a certain kind of magic infused in the form that he chose to tell his stories. Picking heavy themes that are deeply soaked in emotion, Padmarajan chose a light form of presentation. His films have been accepted by the different kinds of viewers in Kerala and outside. With the occasional comedy and song sequences, Padmarajan’s films can never be categorised as art or commercial cinema. His movies saw a fine balance between the both, deriving features from both schools of thought. Middle Stream Cinema or Middle-of the-road cinema owes its name to this understanding of the multiple features that it borrows from both Parallel Cinema and

Commercial Cinema. Though most of Padmarajan’s films were not commercially successful, they were heavily acclaimed. Some of his films acquired critical appreciation after

Padmarajan’s time. Forming as cult classics, some of his films form as inspiration for many budding writers and film enthusiasts.

While tracing through the framework of his movies, one notices a very strong sense of the movement away from the mediocre and the ordinary. One such analysis of his movies led to the understanding that his movies could be viewed through various different lenses. A single film can owe to multiple kinds of interpretations, through theories, ideas and ideologies. The most common being the portrayal of women leading to a feminist approach through which his films can be read. There exists a pattern among the movies that have been written and directed by P. Padmarajan. Upon tracing the pattern through the body of his films, it has been understood that there is a breaking down of stereotypes which provides the space to redefine sexuality, sex, human relationships and so on. A close analysis of the various themes of Padmarajan’s body of films, it can be identified that these themes could be related to a larger ideology.The movies that have been chosen for the research are

Thoovanathumbikal (1986), Deshadanakkili Karayaarilla (1987) and Aparan (1988). Nandakumar 3

Due to the innumerable concepts that have already been put forth, a narrowing down of the concepts into specific areas which can be found in certain films has been administered.

The major pattern among all of these films is the fact that there is a hidden fragmentation among the characters and within the general framework of the film. This fragmentation is in the form of duality in the different natures that a single character possesses. Sometimes, this fragmentation is in the form of physical locations, otherwise in terms of ideas that are contested and redefined. And the way this duality is portrayed is in different intensities, but all following a similar form. The treatment of duality within all the chosen films are different from one another. Padmarajan’s method of handling the idea of multiple natures are showcased not only through the characters of the physical locations, but also through objects within the film and the behaviour of the characters, through the communities represented and the time during which the films were set. This is the tone that Middle Stream Cinema adopts.

It focuses on the various aspects that are present in reality, which are some of the themes that

Parallel Cinema most often indulges in. These aspects are fine-tuned by the lighter elements such as song and dance sequences, which are popular in commercial films.

As the title of the research suggests, the lens through which the chosen films will be viewed is through the idea of duality. Duality, as per dictionary definitions, speaks of the condition of being dual. The research attempts to analyse the duality of characters, ideas and places within the films which are portrayed through events of crises. The idea of exploring existence through the concept of duality is an all-encompassing thought. Existence covers the multiple facets that make up the life of an individual. Under the idea of existence, a person’s identity, what frames his identity, the core reasons behind the significance of his existence, all come into play. The word ‘identity’ here refers to the qualities, beliefs and ideas that an individual possesses or that a group shares. In each chosen film, the idea of duality represented varies. For instance, when one thinks of the word ‘duality’, one immediately Nandakumar 4

associates a psychological understanding towards that term. Such as in the case of

Stevenson’s Dr Jekyll and Hyde, they are two personalities that exist within the same body.

Two characters shared by the same person, commonly referred to as a split personality disorder is a form of duality.

Padmarajan’s characters represent well-adjusted individuals facing situations in their lives that result in a dualistic approach towards handling it. But the kind of duality that has been identified within the framework of Padmarajan’s films are largely related to the creation of a self-identity. This identity is often created from engagement with society and also from one’s own ideas and beliefs. A fine balance between the both could design what is referred to as self-identity. How physical locations are defined by this self-identity is one other aspect that this research shows. For instance, in Aparan, Padmarajan’s protagonist Viswanathan

(Jayaram), faces a situation where he is mistaken to be someone who resembles him. The man who looks like him is identified as a criminal leading to confusion between Viswanathan and said criminal. This form of duality functions at two levels. The criminal and Viswanathan aren’t connected to each other on any level despite being mistaken for the other on several occasions which eventually tampers Viswanathan’s life to a large extent. But it is the fact that this incident drives Viswanathan to take the gravest of measures, such as taking the law into one’s own hand and plotting the death of the criminal.

Another form of duality that largely exists within identified writing and cinema is

“double consciousness” (McNair 2). Put forth by DuBois, double consciousness refers to the feeling by an individual that suggests that his identity is not one, but fragmented into different parts. This is resulted by two experiences that are inherently different but make up the consciousness of a single individual. The understanding is such that there is no unified identity. In Padmarajan’s films, we see this idea of there being no particular unified identity.

Therefore, the individual becomes a carrier of multiple different natures. DuBois’s theory fits Nandakumar 5

into a Post-Colonial understanding. It is the idea of how an African can never settle for

American values. If one looks at an African text, Du Bois's ideas can easily be identified as it would address the confusion faced by the individual in terms of placing his identity. His understanding is specifically fixed to view the American society. Adopting certain ideas from

Du Bois's theory, it can be understood that Padmarajan’s form of duality is a silent critique of the Indian society. It does not arise from a submission-domination relationship such as in a coloniser-colonised relationship. But Padmarajan’s form of duality within the three films gives us a larger understanding of how society functions.

Looking at Padmarajan in the tone of the 1980s, he presents situations and incidents that show Kerala in its rural ethnicity. Objects, spaces and functional elements within the three films show how much of the 1980s have reflected within the films. What this duality suggests on the whole is what defines the 1980s society. In Aparan, Padmarajan sets

Viswanathan, the protagonist, in the background of a man moving to a new city from an otherwise traditional Kerala. He represented problems of the time, such as migration, freedom of women, the set societal ideas about gender, marriage and sexuality. This is true to the situations presented in Thoovanathumbikal and Deshadanakilli Karayaarilla. Therefore, this kind of understanding of duality can be identified as an “existential duality”. The individual sets himself against what has been provided to him and identifies his actions as his own. The consequences of his actions becomes his responsibility. This form of “duality” comes from the individual’s experiences. The understanding that an individual’s existence is analysed through humane aspects such as morality or behavioural conditions is what ‘duality’ aims to propagate within Padmarajan’s films. A simple example of this would be Mani Kaul’s

Duvidha. Duvidha speaks of a married couple’s tale where the female member is met with a ghost that resembles her husband. Soon, the couple’s marriage is thwarted because of this impersonation. This form of duality represents the idea that the body and the mind are Nandakumar 6

separate and acts as a larger metaphor for humans’ actions and their functionality. It is the same kind of duality that exists within Chandrasekhar Kambar’s Siri Sampige or Girish

Karnad’s Nagamandala.

Duality, in this sense, comes from within, but guided by external factors. That is the kind of duality that Padmarajan aims to bring about in his films. We see the role of an outsider and an insider being portrayed by the same individual, as does Jayakrishnan

(Mohanlal) in Thoovanathumbikal. Here, we categorise his dual nature as “insider” and

“outsider” by looking at the way in which he portrays himself to both the societies that he mingles with. In Aparan, Vishwanathan (Jayaram) not only shows two dual natures belonging to different individuals, but also shows us how man chooses the path that fits his situation the best. Nimmy and Shari show their duality through rebellion. By choosing disguises, they show a certain dual nature so as to maintain their disguises. What is common to all three movies is that, there is a certain sense of psychological understanding that it lends to.

Therefore, these situations are what becomes universal, that creates and forms these multiple natures that we collectively refer to as identities. Now that, this form of duality rises from within the individual’s experiences with people and relationships, it becomes essential to look at the elements that give way to the kind of understanding that has been arrived upon. The fact that the duality within the three films rises out of the experiences shared between individuals, it becomes the cutting factor for choosing these films. Padmarajan’s body of films have other factors that also drive duality forward. But the kind of duality that exists within all of his films are different from one another. The treatment of duality within these three films are the same but their nature is not similar.

It is highly possible that this understanding can have multiple interpretations, but clubbing these ideas together, Existentialism becomes one of the overarching ideas through which this duality can be understood. The multiple interpretations that come out of our Nandakumar 7

understanding of duality that exists within the films shows the characters as confused, anxious and in a constant state to relieve themselves from their situations because it hinders them from being themselves. These ideas are largely associated to the bygone cultural movement that

Existentialism once was. The questions that emerge out of the films could be existential in nature. Therefore, the multiple facets of existentialism emerge out and can be traced throughout the movies. Most often, the protagonist is found questioning the meaning of his life or otherwise developing a sense of responsibility over one’s actions which may not necessarily fit into a societal setting. Though some of these aspects have been evidently portrayed, there exists an underlying pattern of existentialism that can be identified in an in depth analysis. Through a reading of his films, it has been arrived upon that there are several existential questions that can be addressed further. These existential questions that the individual comes up with are a symbol of the duality that exists within him. Purpose and meaning to life are some of the many overarching thoughts that are portrayed on a larger scale within the films. The dual natures that exist within the individual seeps out through an existential understanding of their own lives.

Existentialism was a philosophical movement that unfurled during the 19th and 20th century in Europe. The pioneers of this movement believed staunchly that human thinking begins with the idea that the form of existing in itself comes from nothingness. Closely linked to these ideas are a doctrine that firmly believes that people must take responsibility over their actions and with that comes freedom. There are multiple facets that constitute Existentialism.

Some of the masters of this movement are Friedrich Nietzsche, Jean-Paul Sartre, Soren

Kierkegaard and Dostoevsky. The research, from the concept of duality in existence will be sub-categorised into a few other concepts which have occurred as a result of the dual nature itself:

1. Existence precedes essence Nandakumar 8

2. Angst and dread

3. Authenticity

4. Facticity

These factors have been derived and clubbed under the umbrella of duality of identity because these elements make up the entire process of what can be understood as dual within the characters. Each character goes through the stage of valuing existence over essence as an attempt to reach their true self. And these are attained through a series of events that fills the characters with dread and also resulting in confusion as to which part of their self is truly their own. Some of these events are external from their existence. They could be factors that influence the individual from the outside. The external influence plays a major role in the individual’s formation. ‘Facticity’ here becomes the absolute doing away of what considers to be conforming, which varies from individual to individual. Another major aspect that defines these movies is the time period during which they were made. It is the social, cultural and political setup of the time that also lends to the formation of an individual’s identity. These count as external factors but the research focuses on how they become internalised and how that results in a sense of duality.

The externalised aspect of duality is viewed largely as an identification process. This identification process is completed by viewing whether what has been understood as ‘dual’ gives us a larger clarity over what is real and what is unreal. The outcome of this identification process is to understand through comparison or through negation as to whether what exists in the world exist as they are or whether there is more to it than it seems.

According to Kant, Phenomena constitutes that realm that comes out of one’s experience.

They are the things in-themselves, which forms as reality itself. But, the factor that ties the concept of Phenomena together is that it also forms as ‘appearances’. Phenomena, therefore becomes the understanding of reality that reveals that when things become a part of our Nandakumar 9

experience, they become apparent. The truth to this reality becomes skewed and inaccessible.

But, there exists in the world, a real version of this realm. This is what Kant refers to as

Noumena in his Theory of Practical Reason. The noumenal reality therefore becomes what is real, what exists as it is in its purest form. The noumenal reality is what exists before we experience it, therefore, it is referred to as the thing -in itself. There are several elements within the films that are dual in nature. By using Kant’s theory to identify where these dual natures stand in our understanding of Kerala of the 1980s, what can be learned is what forms as ‘real’ and ‘apparent’. These dual natures are therefore divided according to what fits into a phenomenal reality and noumenal reality. These dual natures, according to the hypothesis that it adopts, views dual natures as a part of the 1980s Kerala society set up.

Therefore, this research attempts to identify these films and its relation to the 80s society of Kerala. Padmarajan plays an important role in our understanding of the 1980s.

Through his films, viewers saw a completely different approach towards the depiction of reality. Therefore, his films represented the 1980s in its truest essence. Looking at some of

Padmarajan’s films such as Nammukku Paarkan Munthiri Thoppukkal, the elements of unconditional love, devoid of anything problematic are shown. The unconditional love in this film is shared between two individuals who are romantically involved. But, the same unconditional love is shared between a grandfather and a grandson in Moonam Pakkam. The treatment of the same idea in different ways makes Padmarajan’s sense of realism perfect. He places the socio-political factors within his films and portrays them through the lives of characters that a viewer could relate to. In Arappatta Kettiya Gramathil, Padmarajan brings in communal rift in the space of a brothel. He brings out a very integral communal situation of the time placed at an unconventional physical space. This location also shows the role that prostitution plays in Kerala’s society. It shows how prostitution becomes an escape for many young women, and for some men, it becomes their escape from reality or from a longing for Nandakumar 10

affection. Though these conditions exist even now, their presence are defined by certain ideas that are representative of a time that has long been gone. Thereby, Padmarajan himself becomes an important part of the 1980s scenario, an integral part in understanding how Kerala as a whole functioned.

1.1 Research Objective

The central objective of this research is to identify duality at every level in the selected films and locating them within the framework of Kerala of the 1980s.The thesis statement of this research aims to read the dual natures of identity in the chosen films. The focus of the research is to trace and analyse on what level duality functions within all the films and if these stand as a representation of Kerala during the 1980s.

1.2 Research Questions

1. From where does this duality develop and where does it end?

2. What impact does the identified duality have on the individual and to what levels

do these dualities play?

3. What does the duality signify about the society of Kerala? What is the

connection between duality and 1980s Kerala?

1.3 Research Gap

Padmarajan’s body of films have been viewed from several angles, the most popular being a gendered approach and the other being philosophical or ideological in nature. Duality as a lens arising from Padmarajan’s films to view how ‘existence’ is defined in 1980s remains unexplored. Within the understanding of the term ‘duality’, this research looks at how identities are formed and what contributes to its formation.

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1.4 Literature Review

In one of the articles chosen, the several aspects of existentialism are highlighted and then translated from fiction to cinema. In this process, the article points out the various stereotypes that need to be heightened and some that are diluted so as to represent it with a better effect on-screen. The historical and social ramifications of the novels are broadened for the audience in the process of its conversion from fiction to cinema. The evident racist perspective of the novel leads to the existential angst that Bigger Thomas faces and therefore, it creates a universality in viewing cultural codes. The article also identifies the various literary devices that are present in the novel which were brilliantly translated into cinema so as to encapsulate all the finer aspects of the novel. The article majorly points out the social, economic and class politics of an America that is caught between the fear of divided communities and capitalist greed and manipulation. This aspect can in fact help in viewing the body of films that Padmarajan has created. More often, the social conditions of a particular geographical area are what suggests where the text’s nature lies. This shows that a text has several layers which make it up, much like how Padmarajan’s films have several layers to be discovered.

Other works such as in the chapter on Existentialism from Philosophy Through Film, several films of existential nature have been analysed. The Seventh Seal by Ingmar Bergman, the author attempts to look at the aspects of Theism and the cost at which Atheism comes.

The second movie that is analysed is Crimes and Misdemeanours directed by Woody Allen.

Again, Theism is the major lens through which Existentialism is viewed. The complete doing away with the concept of God and a more humanistic perspective is also presented. Leaving

Las Vegas directed by Mike Figgis is the next one that is analysed in the book. It looks at the complexity of human relationships and the general downhill path that life often takes. Death, angst and dread are some repeating existential facets that can be traced through this film. This Nandakumar 12

attempts to show how what already exists can be analysed. What is at face value often provides the most amount of ideas. The surface level understanding of Existentialism within a film is not possible in any of the three movies. There must be an in depth analysis which arises out of the text. The article problematizes the major key points of how duality of existence will have to be sought out from within the text of the film.

One of the articles picked talks of how Indian literatures may have been impacted by

Existentialism. He begins by speaking about how a particular theory makes way into the academic world, by first being dismissed, then becoming accepted but remaining irrelevant and then becoming significant enough for all of the world to be discussing for years.

Existentialism gained such a status through its writings and especially through the patrons of the school of thought. To trace Existentialism into a country such as India which celebrates its diverse religions makes it exceptionally difficult as Existentialism is rooted in Atheism and is most often perceived to be negative by many readers. Raja Ganesh picks up several instances from IranthaKalangal by Jayakanthan to point out the elements of Existentialism in an otherwise Hindu cultural worldview. He does so by juxtaposing several situations where the characters talk to each other regarding their lives and the various existential crises that they seem to be exposed to. The idea of an 'existential hero' is put forth. This same idea can be traced within Padmarajan's films, the protagonist is always in the process of self-discovery, most often through negative situations and emotions. But, the difference between

Jayakanthan's work and Padmarajan's is that, the text contains evident hints at existential questions, whereas Padmarajan's works have to be read in the deepest manner for any such hints. Padmarajan's films, at first glance, speak largely about human relationships. At a closer analysis, it can be understood that the tone of Existentialism works on base level over which other ideas are built upon. There are multiple such interpretations that can be associated to the films of Padmarajan. Rooted in a typical scenic Kerala atmosphere, the movie is captured Nandakumar 13

differently by different viewers. It doesn't claim any ideologies. It represents a less biased, realistic approach to life which catches the weariness of the world through its simple form.

This leads to the question of how such a depiction can be characterised if the setting represents rural and urban Kerala. Kerala is one such state, especially during the 1980s where religion and the Hindu tradition were followed by the people with pride. But the 1980s also saw the rise of the Hippie culture, progress in terms of art movements and accommodation of various Western cultures. In such a state, there exists a space where dual ideas and dual natures could survive together. Therefore, it is necessary to understand that most often these elements of duality are what exists within the text. Existentialism rejects belief altogether and gives importance to the existence of the human alone, which is propagated through duality.

Another article that suggests a whole different take on this is the relationship between

Existentialism and Vedanta, the Indian philosophical thought. Sarvepalli Radhakrishnan also attempted to do a comparative study of the both to show the similarities between the both.

Vedanta stresses for the return to our own selves, to reintegrate with our Brahman, which is seen as the self in itself (Chaudhary 4). This article speaks of how the East and the West largely propose similar ideas at different points in time. It brings about thoughts that combine the humanistic, intellectual, spiritual and material needs of man. As he compares between the need to be alienated so as to reach one's true self, Vedanta explains a different reason as to why one goes through these processes. On the whole, Existentialism and Vedanta agree on the idea of there only being universal experiences, but Existentialism does not believe in the thought of God being the reason as to why this happens, unlike Vedanta. It could be true that there are stark similarities which make them seem similar. As Padmarajan's characters visit temples and show faith in God, it is necessary to understand that only the elements are similar and they cannot be isolated as Existential texts. . Nandakumar 14

The next article talks about the various novels written by Sartre like TheReprieve and so on and how the cinematographic quality of the transition of each scene to the next is highlighted. The novel looks into the individualistic aspects of humans and these aspects are looked into in the article. Sartre through his novels try to perpetrate the idea that one is responsible for the various conditions that one puts themselves through, such as war. In such a situation, if one embraces the self-doubt and the chaotic nature of the world, one can achieve a deeper understanding of the self. Through these novels, Sartre tries to point out through his fictional characters, the realistic aspects of the world that one creates for themselves. In

Padmarajan’s films, there is one key point in their life that puts them through circumstances that bring about what has been identified as elements of Existentialism. The situations in which Jayakrishnan from Thoovanathumbikal finds himself results in a state of chaos and confusion. This situation is somewhat the stark opposite of what Jayakrishnan has ever wanted to see in his life. Thus, the confusion and the dual aspect reaches out through the real life incidents that take place. Most of Sartre’s work has been written in the mid 1900s which is a much different time period compared to the 1980s. Therefore, one of the aspects that needs to be focused on is placing Existentialism in the 1980s.

The article aims at pointing out on how Existentialism is a philosophical movement that belonged to an age that has come and gone. With all the pioneers of the movement unalive, Existentialism still continues to hold a very important position in a society, in its understanding of a society and also as a philosophical and cultural point of view. The essay talks further about how Existentialism has made its impact in multiple disciplines and is almost on par with Psychoanalysis, another movement and school of thought that has long gone away from the limelight. But the universal factor of Existentialism, not only in fields like Sociology, Literature, Anthropology, Psychology and Culture Studies etc has evidently Nandakumar 15

shown the impact of how the various facets of the school of thought has helped individuals or rather societies to understand themselves better.

It concludes that Existentialism, mostly through the field of Psychology has helped us in creating and understanding our own consciousness. Generally, it can be noticed that through Psychoanalysis, most of Padmarajan’s characters can be traced. It is through their behavioural pattern that the research has rested upon the foundation of Existentialism. But the most difficult position that this research poses is in identifying the position that Existentialism takes in Kerala. It has been identified in the Encyclopedia of Indian Literature, writers like

Anand, O.V Vijayan, M. T Vasudevan Nair are some of the writers that have an existential flavour (1245). Thus, Padmarajan falls into this category without having been expounded as an Existential writer or filmmaker per se. The trace of duality which has been identified as

Existentialism in Padmarajan’s films have not been claimed so through theoreticians or critics, leaving behind a huge room to be discovered. This can only be discovered through the

1980s society and the conditions of the time.

It is essential to understand how the social structure of 1980s Kerala was. And

Padmarajan's films being from the 1980s, it becomes all the more essential to understand the socio-political conditions of the time. One of the most important elements in Padmarajan's films is the way in which women have been depicted. Even if the protagonist is a male character, the female character is almost always given the strongest personality. Thus, there is a strong sense of empowerment through the films of Padmarajan.The gender development index shows that women in Kerala have had the highest rate in female empowerment since

1981 to 2001 despite the violence inflicted on women and suicide rates among women increasing during these years. The article goes on to prove that the literacy rates among women also have increased and is the highest among all the other states within Kerala during Nandakumar 16

these years. There is a strong suggestion in the article that this is due to the difference in the social set up of the state of Kerala as compared to the previous years. Mostly because of migration of people, increase in education among women and a new sense of open mindedness, women have experienced feelings of loneliness and despair. Also, the article shows that there is a resistance amongst family members which result in female rebellion and an urgency to make impulsive decisions. The cultural context of Kerala keeps changing from the 1980s onwards up until now.

"Women in Kerala have high expectations of themselves because they have been

imbibed with the importance of acquiring education and literacy. This contradiction is absent in most of the states in India, where women have lower educational attainment and fewer choices." (Mitra and Singh 1240)

This is true in the case of Padmarajan's female characters in the three chosen films.

Clara from Thoovanathumbikal and both Nimmy and Sally from Deshadanakilli Karayaarila stand for this idea. There is a sense of realism that Padmarajan tries to adopt into his films which delivers the same ideas as what already exists within Kerala.

In the next article, Vasanthi traces the history of Malayalam cinema across time and talks about the social, political factors that influenced into the making of these films. In her thesis, it is mentioned that middle of the road cinema, under which directors like Padmarajan,

Bharathan, John Abraham and KG George fell under. were as popular as what we commonly refer to as commercial cinema. There were entertaining elements like song, dance, violence, sex and so on but followed unique narratives and a realistic mode of telling. Therefore, middle of the road cinema or Madyavarthi cinema formed that space through which one could develop their own individualistic styles. It is possible that Vasanthi was aiming at an idea that middle of the road cinema emerged out of all the multiple forms of cinema that were present Nandakumar 17

then. The article talks about the way in which Madyavarthi cinema aimed to strike a balance.

Also, it attempted to capture the aesthetic sense of an authentic Kerala which was present at that very time. Most often, director Padmarajan was seen as a thinker ahead of his time. There was a sense of political instability that had gripped Kerala during the 1980’s because the

Government was one of coalition. If one notices the body of films that belong to Padmarajan, there is a light tone of criticism towards society. There was a small growth of industrialisation during this period, people slowly moved from their agrarian jobs to jobs in the cities, much like the protagonist in Aparan. Yet, there was a sense of divide in this identity that

Padmarajan addressed. The thesis goes onto talk about the portrayal of women from the different walks of life within the framework of Kerala. This thesis provides a large understanding of the cultural spaces that exist within Kerala, a socio-political understanding of the time period and a possible reason as to why Padmarajan may have fallen under the

Middle of the road style of filmmaking.

To understand duality further, Sharma’s article analyses the duality of reality and illusion in Desai’s In Custody. It speaks of the inner struggle of an individual to substantiate contrasting choices. Desai personalised impersonal time and space and identifies this as a result of an existential desire to attain freedom. In this research, what will be questioned is the void that the individual faces in his journey towards manifesting “authenticity”. This article has been picked as all three films that have been picked were originally written texts.Therefore, it is necessary to analyse the process of translation from text to screen. The deciphering of human conditions as shown by Desai is a lot similar to how Padmarajan portrays his characters in their various situations. But, this article fails in our attempt to place this existential duality within the sceptre of the time period of the 1980s. Nandakumar 18

In the article on Karnad’s presentation of the body and the mind, she speaks about how Karnad effectively makes the distinction between body of an individual and the mind that controls the body. To show the absurdity of human nature, Karnad uses the veil of mythology. Working as a larger metaphor, Karnad provides his readers an understanding that all individuals do not fall under a strict umbrella of one particular form of identity. Humans are guided by multiple contrasting ideas and the conflict on the whole is what makes an individual who he/she is. In Hayavadana, the splitting of the body is shown as a symbol of how people are attracted to different factors from different individuals. Through a mystical and metaphysical representation, Karnad records the workings of the human mind and behaviour and presents it to his audience. Padmarajan uses a lighter tone. His treatment of the character is often plain and simple and yet leaves the viewer wondering what the larger meaning behind a particular scene was. Padmarajan makes use of his characters to present the eccentricities of one individual alone, through psychological factors, said through a proper and definite story line. His narrative technique also provides us with clarity on how the individual deals with the conditions he is put through and questions the idea of normalcy, much like Karnad does in Hayavadana. Yet again, this article speaks of a theatrical presentation, not a cinematic one. But the treatment of duality intends the same purpose as that of Padmarajan’s films. Varying intensities of duality requires different methods of viewing it.

In the next article, duality is analysed critically from the lens of psychology. The article states that since time immemorial, the mind has been assumed to be partitioned. What the article aims to trace is a thematic chronology of looking at duality. They begin by defining the theory of dual-process, a thought rooted in psychology. By drawing a timeline of understanding duality as Plato put forth to what Freud has provided, it is understood that the mind can have several structures within. The mind could have an animalistic side, and the Nandakumar 19

article also draws comparison to animals. It also speaks of the unconscious mind which has a huge role in our behaviours and thoughts. The second part of the article looks at experimental psychology and the nuances of dual-theory within it. The third part of the article speaks about the history of dual-process theories. The fourth part of the article looks at dual-process theories and its contribution to contemporary schools of thought. This article falls short of suggesting how duality functions outside of the mind. It is restricted merely to the internal aspects of the mind and uses psychology as the base theory to understand duality. But this plays an integral role in understanding how internal duality works within the three chosen films.

In the next article, duality has a specific name. Since both the texts that Ferrer-Medina looks into involves man and his animalistic side, the being exists in a world that lies between the natural world and the human world. Through her understanding of duality, one can understand that there exists a certain kind of notion that provides a space for the internalisation of two different essences. Much like in this research, Padmarajan employs several essences to form a person and several of these essences in conflict result in a kind of duality. She tries to distinguish between man and animal, between civilisation and wilderness through the multiple motifs and themes present within the texts. Similarly, the forms of duality in Padmarajan’s films can also be analysed through the various symbols present within the texts. The understanding that each situation calls for a particular essence to come out to play is identified by the author. Therefore, two essences cannot be seen as desirable.

There then exists a particular idea of preference.

In the chapter on Karnad’s plays and the recurrent motifs of duality, he looks at the different dramatic plays of Karnad and the duality within it. Though some of them are strictly related to Psychology, Aneja creates the idea that conflict is what creates duality. Duality can Nandakumar 20

therefore be created through conflict with any particular object, event or person. Aneja also looks at concepts of how one attains freedom through existing for himself rather than for others and the ideas of alienation. Aneja looks at duality as a process of transformation in terms of the nature of the individual and his behaviour. In terms of the chosen films, transformation in behaviour is a strong aspect that is shown in Aparan. Conflict becomes the point in the film where Viswananthan chooses to transform himself which in turn would result in the attainment of his true self.

In the next article, he begins by emphasising the role that freedom takes in the Kantian perspective of life. As the article proceeds, the connection between how modern cinema and the Kantian form of art are synonymous. Santilini chooses many of Kieslowski films and looks at the reality of the world and how there is a ‘double’ to this essence of the world.

Kieslowski’s films much like Padmarajan’s also looks into how cinema can be a space through which experience can be propagated. The “doubled self” is another idea that is discussed in the article. This self is one that has a dual identity. This dual identity is something that is seen within the chosen films for the research. It consists of characters, spaces and places that have the capacity to become two-fold, two dimensional and open to all sorts of interpretations. And the understanding of these within Kieslowski’s films are merely out of experience while at the same time giving space for the boundaries that realism also places. It identifies Kant’s Transcendentalism and chooses to argue over the a priori and a posteriori analysis. Kieslowski was unhappy with this sort of treatment and on the whole was disappointed with modern cinema. We do not know if Padmarajan shared the same views.

But, a reading of his films show how the Theory of Practical Reason has had a toll on the breaking down of the concept of dual forms of existence.

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1.5 Limitations

The articles that were chosen as part of the literature review give greater insight into the theoretical aspect that will help in the analysis of the different kinds of duality. All the articles have contributed in the understanding of what this research will not be rather than conveying what the research will be about. The aspects that the articles have covered are in relation to how duality plays in texts and films, how existentialism has been portrayed in films or written texts and a generic understanding of Kant. These have been picked specifically as the analysis in terms of the films need pinpointed detailing of the theories that will be applied to it. What the literature review shows is that existing literature on these topics give a base level idea of what has already been done. The theories used have not been analysed onto an

Indian context making it doubly more challenging. The Indian equivalent of these theories have also been referred to for the analysis of duality.

Though there are several other lenses through which Padmarajan’s films can be viewed, the unexplored traces of Existentialism remains an undiscovered area of study through which 1980s Kerala can be viewed. For this research, Jean-Paul Sartre’s school of

Existential thought has been chosen. There seems to be an underlying theme of existential nature in the chosen movies much like the concepts that Sartre has mentioned through his

Being and Nothingness. Other theories that have been made use of is Kant’s Theory of

Practical Reason and a base level understanding of Spatiality. Kant’s theory has been used to identify and classify the duality.

Thoovanathumbikal is a movie that is based on a book written by Padmarajan titled as

Udakkapola. The movie is centered around the protagonist Jayakrishnan (Mohanlal) who leads a dual life, one as a family man and the other as a well-connected, powerful man in the city. The protagonist comes across two women in his life that have impacted him deeply. The Nandakumar 22

angst and dread that Jayakrishnan faces, the duality in the identities of all the three central characters are some of the few factors that provide a pattern of the level of fragmentation.

Another major factor is the metaphor of rain that portrays the onset of his love and bond for

Clara, but also the confusion that he feels towards the entire situation,

Deshadanakilli Karayaarila represents the best form of teenage rebellion that

Malayalam cinema has portrayed from the perspective of two young girls who run away from school. The film revolves around how the characters hide themselves from their schools and families that are searching for them. The duality in their characters, the weariness that they feel and the other characters that add on to the chaos have been beautifully portrayed through

Padmarajan’s screenplay. Here, some of the key elements are the absolute rejection of any standards set by society, the willingness to take charge over one’s actions despite the consequences, to reach one’s true self and the absolute downpour into a sequence of misery at the end of the film. This film had been viewed as the first Malayalam cinema to have portrayed a relationship that may have bordered on homosexuality. Though later this term had been identified as ‘womance’. Representing bold themes, Padmarajan also questions the many aspects that makes a person who they are through this film.

Aparan is one of Padmarajan’s cult classics that had not only been critically acclaimed but also well accepted by all sorts of filmgoers. The film speaks of a man (Viswanathan, played by Jayaram) who is mistaken to be a criminal who resembles him. The film unfurls into the series of unfortunate events that Viswanathan is put through because of his uncanny similarity with the criminal. The dual side to Viswanathan’s character and the double role that Jayaram plays as both the protagonist and the villain portrays the idea of duality in identity.

The research provides a large amount of space to be explored as the idea of duality of existence in Padmarajan’s body of films have a wide range of different elements to be Nandakumar 23

understood and interpreted. The scope of this research also gives room to discover other

Indian theoreticians and writers that speak of duality. The limitations of this research leave behind great amount of room to discover how Kerala of the 1980s or rather, existence at that time. There could be multiple ideologies and lenses that can be used to analyse this time period.

The following chapters are split into External Duality and Internal Duality. External

Duality deals with the understanding that everything that lies outside the individual and dual in nature are examined and analysed. The larger outcome of the duality is studied under the backdrop of Kerala of the 1980s. As for Internal Duality, the characters and the internalised feelings that suggest duality are examined and analysed. These ideas, both external and internal, are studied using the theories mentioned earlier. What arises out of this research is an understanding as to whether this duality is a specimen of the 1980s Kerala society. Does duality have any role to play in our understanding of the ethos of the 1980s? The understanding that duality caters to must define for us what is real in the films. Thus, reality becomes the studied aspect in this research. As there exists two opposing ideas, which we refer to as duality, the study into what constitutes this duality and its larger reference will bring forth those elements of the 1980s that are shown within the films.

Nandakumar 24

Works Cited

Aneja, Taruna. Girishi Karnad's Dramaturgy with Reference to his Plays. Thesis. Jiwaji

University, 14/10/2014.Shodhganga. Web.

Aparan. Dir. P. Padmarajan. Perf. Jayaram, Shobhana, Mukesh. Thomson Films, 1988.

Aparan. Supriya International.

Boyd, Melba Joyce. "Red, White, and the Blues: Translating the Existentialism in Richard

Wright's Fiction into Film." The Black Scholar 39.1-2 (2009): 34-39. JSTOR. Web.

Chaudhuri, Haridas. "Existentialism and Vedānta." Philosophy East and West 12.1 (1962):

3-17. JSTOR. Web.

Deshadanakilli Karayaarila. Dir. P. Padmarajan. Perf. Shari, Karthika, Urvashi, Mohanlal.

Dinny Films, 1986. DVD. Deshadankilli Karayaarila.

"Existentialism." Philosophy Through Film. 2nd ed. N.p.: Routledge, n.d. 209-23. Print.

Frankish, Keith, and J. S. B. T. Evans. "The duality of mind: an historical

perspective." In two minds: Dual processes and beyond (2009): 1-29.

Glicksberg, Charles. "Sartre: Existentialism in Fiction." Prairie Schooner 23.1 (1949): 12-18.

JSTOR. Web.

Ganesh, D. Raja. "Tamil: An Encounter with Existentialism." Indian Literature 22.5 (1979):

46-58. JSTOR. Web.

K, Vasanthi. Malayalam Cinema Society and Politics of Kerala. Thesis. University of

Madras,

1990.Web.

Kohn, Alfie. "Existentialism Here and Now" The Georgia Review 38.2 (1984): 381-97.

JSTOR. Web. Nandakumar 25

Mitra, Aparna, and Pooja Singh. "Human Capital Attainment and Gender Empowerment: The

Kerala Paradox." Social Science Quarterly 88.5 (2007): 1227-242. Web.

Parveen, B. Waheeda. "The Body and the Mind in the Novels of Girish Karnad." Research

Journal of English Language and Literature 3.3 (2015). Web.

Radhakrishnan, Ratheesh. "What Is Left of Malayalam Cinema?" Cinemas of South India:

Culture, Resistance and Ideology (2010): 25-50. Print.

Santillini, Paul C. “Cinema and Subjectivity in Krzysztof Kieślowski.” The Journal of

Aesthetics and Art Criticism, vol. 64, no. 1, 2006, pp. 147–156. Jstor.

Sharma, Narinder K "Duality of Illusion and Reality in Desai's In Custody." CLCWeb:

Comparative Literature and Culture 14.2 (2012)

Thoovanathumbikal. Dir. P. Padmarajan. Perf. Mohanlal, Sumalatha, Parvathy. Gandhimathi

Films, n.d. DVD. Thoovanathumbikal. Sitara Pictures. Web.

Varghese, Benedict. Rethinking Religion Redefining Politics Malayalam Cinema 1970s 1990s

and beyond. Thesis. Tata Institute of Social Sciences, 2012. N.p.: n.p., n.d.

Shodhganga. Web.

CHAPTER 3 55

INTERNAL DUALITY 55

3.1 AUTHENTICITY 56

3.2 PSYCHOLOGICAL IMPACT ARISING FROM THE NEED TO MOVE AWAY FROM SOCIETAL STANDARDS 65

3.3 CONFUSION AND DREAD 72

WORKS CITED 77

CHAPTER 4 78

CONCLUSION 86

WORKS CITED 86

APPENDIX I 87

BIBLIOGRAPHY 93

ix Nandakumar 26

Chapter 2

External Duality

Duality, or the condition of being dual, exists in all proportions and intensities. It has been so across time and space. This research will attempt to look at duality, at every level within the films, therefore owing to an understanding of the characters, their representation and the ethos of Kerala in the 1980s. Our understanding of these films and their characters are going to be compartmentalised into external and internal as the lens for viewing these films are now through the concept of duality. External duality deals with the factors that happen on the exterior of the individual. If the idea of internal duality deals with the individual and his mind, then external duality deals with the exterior of the individual or rather, what happens outside of this individual that creates a certain sense of divide. This chapter looks at external duality from the point of view of Kant’s philosophy, a general understanding of spatiality and

Existentialism.

To break down the idea of external duality, we may have to split the idea into the concepts of appearance and space and the specific shape that relationships take in a particular physical space. External appearance gives way to a sense of divide. This divide can be seen as a split between what the individual actually is and what he seems to be. This new image that is created from the outside reflects internally. And this new image is interlinked to our idea of obtaining one’s true self. This new image is how society perceives the individual to be.

2.1. Appearance:

As the word suggests, appearance refers to how an individual looks like or he/she performs in a particular setting, as per the Merriam-Webster dictionary. ‘Perform’ as the way in which one functions or behaves in a particular social setting. As in Aparan, the first major event within the film is Viswanathan’s interview for which he has to travel to a different city. Nandakumar 27

As he arrives there, he is confronted by two people who seem to believe that he swindled their money. Despite his pleas to them to understand that they might be suspecting the wrong person, the situation goes out of hand as even the police start to assume that Viswanathan is the criminal that they have been waiting to capture. Once the superior officer enters the picture, it is revealed to the viewer that there exists an ‘antihero’. Padmarajan places the external duality right at the beginning, establishing the conflict right away. The external difference between the criminal and the protagonist Viswanathan is what is presented at plain sight for us. This becomes the pretext for us. This ‘reality’ that is created can be defined as the

‘noumenal’. Noumena are the things that exist which constitute reality. In Kantian philosophy, the noumenal can be defined as that which exists as it is. It is the world ‘in-itself’.

Kant believes that we exist objectively, outside of this reality. This reality exists outside of our mind, independent of it. “Appearances to the extent that as objects they are thought to be in accordance with the unity of the categories are called phenomena” (Banham, Schulting and

Hems 181). A phenomenal reality is created out of experience. Phenomena are the appearances that constitute our reality. Once our experiences come into play, a phenomenal reality is constructed.

The external duality can be explained as two people who look similar but have different backgrounds, different lifestyles and different behaviours. This is the basic fundamental form of duality that exists on the outside. This sort of ‘public’ duality can also be a result of an internal duality. The internal duality manifests into an external duality. On several occasions, Viswanathan is misunderstood to be the antihero that the police want to capture. This costs him his job, his sister’s marriage alliance and so on. These multiple situations not only make the viewer understand that there is an antihero lurking in the same city but also creates certain divisions between the hero and the antihero. With the establishment of the external form of duality, we identify the hero as someone who is Nandakumar 28

innocent or incapable of hurting or manipulating anyone. This can be understood as what is

‘real’. What results from this is the ‘apparent’, the internal duality that sprouts from the protagonist’s experience with the criminal. According to Kant, one can only understand something that one is capable of experiencing. But, he does not negate the idea of an object or space being unreal, due to the concept that they are unknowable. There is a positive and negative side to what is understood as noumena. The noumena becomes knowable and unknowable. But, to this research, there exists something that can be clearly classified into

‘real’, the ideas that one can know through experience and the ‘apparent’, the thing as it appears. The larger question that arises out of this understanding of Kant is whether

‘phenomena’ exists or not.

Presented as a do-gooder, the hero stands in contrast to the antihero. The antihero is presented to the viewer only through conversation to us. His identity is never revealed. The first impression of the antihero, who is also nameless, is that he is capable of doing deeds that aren’t particularly good. This classification is established and also helps the viewer understand the transformation of the hero. As the hero slowly transforms into the antihero,

Padmarajan makes the audience realise that the only universal thing in the world are the situations that one is put through and not certain habits or patterns within a human. This forms largely as an existential understanding of the world and the way with which it functions.

In Deshadanakilli Karayaarilla, Padmarajan yet again makes use of the idea of duality. In this film, duality exists on a psychological level to begin with. But as one does a deeper reading of the film, one notices that there exists a very strict sense of duality in the film. This is initially in terms of appearance. As Sally and Nimmy run away from school to get revenge on their teacher, they disguise themselves. Sally gets a haircut whereas Nimmy only changes her attire. Nimmy dresses up in such a way that one would never assume that she is underage.

Sally’s haircut gives her a matured look. They assume different personalities. As they Nandakumar 29

disguise themselves, they transform themselves into different individuals. As this transformation happens, one notices a stark difference between who they are and who they portray themselves to be. Padmarajan draws the line between what is real and what is apparent. As he makes the differentiation, one starts to identify the duality that exists on the exterior level. This differentiation between what is ‘real’ and ‘apparent’ that Padmarajan draws within the film is something that communicates through to the spectator as the human condition in itself.

In terms of Thoovanathumbikkal, Jayakrishnan’s way of functioning in Mannarathudi and Thrissur vary on a large scale. His ‘performance’ in Mannarathudi can be identified as conventional, related to his family and his plant cultivation alone. In the city, Jayakrishnan’s activities form as unconventional and are related to a grander scheme of things. Within the film, the distinction is not based on the way in which an individual ‘looks’ like. It is through how the individual is presented, how they perform within two separate social environments.

This distinction in terms of behaviour becomes a form of duality that comes from within the film. This difference establishes how the ‘thing-in itself’ and the ‘thing as-it appears’ are two sides of the same thing. Here, the ‘real’ and the ‘apparent’ are separate but they emerge from the same subject. This suggests that each individual has multiple ways in which they function.

The fluctuation in functionality is based on which set up they are placed in. This shows that man, as a social animal, can have different faces. And this reveals that it is a common factor that binds the human condition. Duality therefore becomes a part of our everyday. From the angle of a societal set up, the director brings in the aspect of how a man of the particular time was expected to behave versus what he would do had there been no expectations. This external duality is suggestive of how this noumenal reality builds for us an idea of how people of the 1980s may have functioned.

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2.2. Space:

Space is a socially constructed aspect. Using a basic understanding of spatiality, it is safe to say that space is a multidimensional forum through which reality can be understood. In

Aparan, one can explore the physical spaces through which Viswanathan, the protagonist, functions. Physical spaces here refer to the mere geographical locations that are present within the scenes of the film. There exists a multiplicity to the various physical spaces present within the film. This obvious demarcation of the physical spaces can be defined as the multiple locations through which we see Viswanathan performing at. His home, his office space and the other spots can be identified as the physical spaces within the film. What can be explored in Aparan, in terms of spatiality are relationships. Relationships seen as a space is a very abstract idea. To understand relationships as a physical space would be a herculean task. This space can be understood, or rather classified as ‘lived-in space’ as Lefebvre puts it. Lived-in space can also be a mental place or a physical space. It can only be experienced and understood and cannot be independent of the mind. This understanding is heavily linked to the Kantian philosophy of phenomenal reality. Kant’s theory of practical reason tells us about how space and time is validated. Space and time are aspects that can be cognised according to

Kant’s philosophy. Kant claims that the phenomenal world is something that sprouts out of the psychological realm of one’s existence. As we see a very constructed divide that is created out of the appearance of both Viswanathan and the criminal, we also notice a particular kind of divide that is created as a result of the physical spaces in which they function. This split in

‘space’ is both ‘physical’, ‘social’ and ‘mental’.

The physical space that Viswanathan occupies are the multiple areas at which

Padmarajan places Viswanathan at. Padmarajan shows the viewer how Viswanathan’s character is based on the various locations at which he is placed. Viswanathan is seen travelling between his hometown and the city at which he gets his first job. These physical Nandakumar 31

spaces help us in understanding the character that Viswanathan is. There is an innocence to the character that Viswanathan is. He is determined to find a job and he comes off as extremely genuine. He portrays himself as the kind of person that may never have gotten into a squabble with anyone. Migration is a very important defining factor of the 1980s. During the 1980s, many Malayalis shifted to the UAE or other Gulf countries. For instance, within the initial scenes of the film, Viswanathan’s father clearly indicates that people working in the

Gulf or men in the army rarely ever get holidays. Such was the situation of the time. People, especially men migrated to Dubai in search of jobs while their wives and children stayed back in Kerala. In the film, Sumangala teacher is one such character. To this day, these are things that Kerala is identified with. But, migration happened even within the state. Starting in the

1970s, people migrated to cities in order to move on from their agrarian familial setup.

Viswanathan fits into the typical stereotype of a responsible man. And his nature is communicated to us through the physical spaces within the film. These physical spaces form as a representation of what is dual within the film. The assumption that Viswanathan is a family man merely because of his portrayal in such a location causes the spectator to assume so. The physical spaces are about negotiation- it is about how the spectator understands it from a social standpoint. He also establishes the existence of the criminal through these physical spaces.But what is important from the lens of duality is the divide that it has created in Viswanathan. Viswanathan’s understanding of the criminal becomes the approach through which duality seeps out in Aparan. One of the physical spaces that exist within the film is

Viswanathan’s home. His home creates for us the understanding of his background and his family. Once we move to the space of the city, we witness his workplace and the place at which he stays. These spaces communicate for us the expectations that are associated with being a man. Viswanathan is expected to make a decent salary and yet save at the same time.

The savings would become fund for emergencies or important events such as his sister’s Nandakumar 32

wedding. Though this is a culture that is largely changing in Kerala, the films of that time showed how it was the older brother’s responsibility to take care of the expenses of their sister’s wedding. His home also becomes the place through which one can analyse the relationship between him and his father. Padmarajan creates the same ideas by showing how

Viswanathan functions at home - a place where he is expected to be the protector, the giver and the breadwinner and his office - the place through all of that is fulfilled.

Another physical space that exists in the film is that of the office where Viswanathan firsts appears for an interview. The office attender Bhaskar played by Innocent believes that he does a very important job. As Viswanathan desperately looks for a washroom to relieve himself, he asks the office attender where he can find one. The office attender directs him and

Viswanathan requests to be called a little later for the interview because he would like to drink something. The office attender tells him that the only reason as to why he would do this favour for him is because of his last name. His last name is ‘Pillai’, a common Nair last name.

He expresses how much of a ‘Nair spirit’ he has. The office attender is the voice of unity that arises out of caste, a very common factor seen during the time. Though some of these aspects still exist, they are not voiced out in the same manner. The 1960-80s saw a unison of the upper castes as a revolt against the rising Marxist-Communist ideology. But, this is the same society in which some of the greatest Communist leaders were from higher castes. Kerala forms as that state which through a reading of its historical, political and social aspects show a combination of opposing ideas.

Another physical space through which Viswanathan’s background can be understood is through the temple. His mother visits the temple regularly so that Viswanathan would get a good job. Her conversation with Sumangala Teacher shows that certain superstitious practices still do exist. She goes through every ritualistic practice, which is a typical mother-like attitude to give off. But, this speaks largely of the temple culture that existed in Kerala. Nandakumar 33

Though it may have reduced or increased over time, the temple culture portrayed in the films speak of how the 1980s lifestyle were. This is suggestive of the idea that the physical spaces within Aparan reflect the culture and lifestyle of the time. The office space that Viswanathan occupies has a seating arrangement that probably does not exist anymore. In the contemporary scenario, office spaces are probably separated by cabins and cubicles. The seating arrangement is suggestive of the 1980s set up- tables and chairs lined up to form a square, typewriters and telephones of the time. This could suggest that not only objects within the film are representative of the 1980s, but also the lifestyle and the general psychology behind people. These physical spaces establish what is ‘given’. These spaces also form as the point of view through which Padmarajan demarcates the hero and the antihero. The antihero’s physical spaces are shown through Viswanathan as the antihero himself is never revealed in the film.

Mental space is constructed within one’s imagination. When the mentally constructed image of a particular space is translated into the external and the physical, a new physical space is born. In Aparan, we see Viswanathan lingering around locations where he assumes the criminal would ideally be. This space is created out of Viswanathan’s thought processes.

Viswanathan believes strongly that these locations through which he roams will benefit in his understanding of how to reach through to the criminal. He wants to tackle the criminal himself as he believes that the confusion behind their appearance has gone on for too long.

This leaves Viswanathan confused and disturbed. The contrast between the ‘thing in-itself’ and the mental space defines duality in Aparan. The mental space as created by Viswanathan, which then becomes a physical space, is further complimented by the attire that he chooses to wear to pretend like the criminal. The mental space is a space where the individual’s imagination assigns a particular location as one such. These psychological indications are also a suggestion of how one links an idea or an image that they are familiar with in their physical Nandakumar 34

space to their understanding. This is necessary when it comes to accommodating a particular culture or society into one’s social set up.

In terms of Aparan, the protagonist starts to wear the colours that the anti hero frequently wears. Clad in red, brown or black, the hero is seen lurking around, making conversation with people that he thinks the antihero might be involved with. At this point, the viewer might even assume that the antihero and the hero are the same person

Fig 1: Viswanathan pretending to be the criminal. Aparan. Web.

The physical space becomes a conceptualised location for the kind of person that

Viswanathan is and the mental space becomes our understanding of the antihero, or rather,

Viswanathan’s understanding of the antihero. What can be deduced here is that, we have an established sense of difference that Padmarajan places at the very beginning of the film. This difference is evident to us, it is real and physical. But this difference remains ‘unknown’ to us because this reality is defined independently. In Aparan, it can be clearly identified that the

‘noumenal’ or the ‘unknown’ defines what is ‘apparent’ to us. This ‘apparent’ reality is created through the experience that the protagonist faces with the criminal. The external duality caters to the internal and creates a divide within the mind of the protagonist. Nandakumar 35

To pinpoint on the essence of external duality within Aparan, it is necessary to look into the aspect of relationships as well. Making use of socially constructed space to understand how relationships are developed is another method through which duality can be explored. Of all the relationships that one can understand within the film, the one between the antihero and the hero is the most ambiguous. Unknown to each other, Viswanathan becomes that person in the film through which we understand the physical spaces of the film. The antihero becomes the entity through which we understand how Viswanathan constructs the conceived space. According to Henri Lefebvre, the idea of their existing a space that is a result of the multiple human interactions that a person has is referred to as ‘lived-in space’.

The lived-in spaces that are created in Aparan can also be looked at in terms of duality. And this can be seen through the relationship that Viswanathan shares with the unknown criminal and also in the relationship between Viswanathan and his father. The lived-in space can be both imagined and physical. In terms of Viswanathan’s relationship with the unknown criminal, we notice an imagined, mental creation. The antihero is never introduced to the spectator. The antihero is nameless which also forms as one of the most ambiguous aspects of the film, leaving the spectator to wonder who the antihero actually is. This is because of the mental transformation that Viswanathan goes through which has been discussed in the chapter on Internal Duality. Viswanathan’s relationship with the antihero is one-sided. It helps us understand more about Viswanathan than about the antihero.

The lived-in space is the third type of space wherein social interactions take place.

This is the standpoint through which we understand the first two spaces. The relationship between Viswanathan and his father holds a great amount of reference in our understanding of what kind of duality that the perceived space possesses. His father hands him some money before leaving for his interview. As he goes, he subtly puts it across that he wants him to buy him a bottle of Brandy on his way back. The relationship shared between them is one of Nandakumar 36

mutual respect. They also share the kind of relationship that suggest that they could even be good friends. But when Viswanathan’s sister’s marriage proposal is cancelled because of his resemblance to the criminal, his father loses his control with Viswanathan and begins to doubt him. But this situation is pacified soon enough. Therefore, the space shared between the both of them is one that is boundless. Viswanathan has nowhere to turn to when the situation with the antihero worsens. He approaches his father and openly asks him whether he may have another son, after feeding him some alcohol so as to ease the mood before he proceeds into a sensitive topic. His father’s response is ambiguous and that leaves the spectator even more confused.This confusion is somehow as powerful as Viswanathan’s. The conversation with

Viswanathan’s drunk father leaves us with multiple questions. The physical space that we see in Aparan is redesigned for us by the conversation between Viswanathan and his father. It leaves the spectator with a feeling of confusion as to what the relation between Viswanathan and the antihero could be. The possibility of there existing a blood relation between the both of them gives us an eerie feeling about Viswanathan’s home. The physical space becomes the lived-in space. The lived-in space is a representation of the apparent confusion and dread in the film. Though the transformation is already on-going when Viswanathan has this conversation with his father, it impacts the internal divide that he faces. It also creates for us an external divide in the spaces through which Viswanathan functions. It fuels our questioning of whether Viswanathan and the antihero are in some way related or not, or whether the idea of home is as stable as it is when we viewed his surroundings as any other physical space.

Viswanathan is the do-gooder, and the space in which he is set represents goodness.

But as the film progresses, and the relationships are defined for us, we see a change in

Viswanathan. These changes make him closer to the antihero, thereby heightening the idea of the existence of the antihero. The antihero is only represented through the mental space, the Nandakumar 37

point where our imagination and our understanding of that physical space comes together.

The lived-in space is a space that is created though the signs that are present in the physical space. These signs are identified and the space that we call as lived-in space is created. In conclusion, the phenomenal comes out of the noumenal in Aparan. The phenomenal is the many mental connections that arise out of the external factors that form as our pretext.

From the standpoint of Thoovanathumbikkal, there is a real distinction between what is real and apparent. In the start of Thoovanathumbikkal, Padmarajan establishes

Jayakrishnan’s character as someone who is involved solely with the issues that he faces as a planter. As a family man, Jayakrishnan is seen to come off as miserly, unaware of anything besides what he is naturally involved with. We see a quick shift in his character as he is placed in another setting. Jayakrishnan in the city of Thrissur has a different personality altogether. To place where Jayakrishnan falls as an individual is highly difficult. Jayakrishnan in the city is an unconventional man compared to him at Mannarathudi. These factors are real but they are also unknown to the spectator as it creates multitudes of effects. But for the spectator, this external reality compliments the internal division present in the mind of the protagonist. If one were to view the film through the angle of external duality, we would have to broadly divide the idea based on the two physical spaces in the film. These physical spaces can be largely categorised as the town of Thrissur and Jayakrishnan’s home. These spaces form as what Kant would refer to as a noumenal world. These physical spaces are already existing and it is independent of the mind. The physical space of Mannarathudi becomes one side of the dual aspect view. It is what forms as our understanding of Jayakrishnan as a person. This understanding is put in contrast against what we find in Jayakrishnan in Thrissur.

Both these spaces broadly conceptualises for us the duality that Jayakrishnan faces.

Jayakrishnan becomes the split individual, the physical spaces become divided further. In this space, the spectator observes a man that would involve himself in anything related to farming Nandakumar 38

or his family’s affairs. In contrast, we observe Jayakrishnan visiting the town. In this town,

Jayakrishnan is not a man that involves himself in trivial things. He is a man of power, a man who has control over many clandestine operations that are otherwise considered unconventional and sometimes even seen as scandalous. He knows the creme-dela-creme of

Thrissur and has influence over many realms of society. This is established through

Jayakrishnan’s visit to Thrissur with Rishi. The sequence in the bar where he is on friendly terms with Davidettan, the bartender and the other frequent customers of the bar leads the spectator to understand that our understanding of Jayakrishnan has been extremely one dimensional.

The bar as a space shows how people of the 1980s function. Jayakrishnan as a resident of Mannarathudi would ideally never have entered a bar. But, Jayakrishnan of the town of

Thrissur would be a part of a social set up such as a bar. In this bar, there are a table full of people that Jayakrishnan is apparently quite acquainted with. The conversation that takes place between Rishi and Jayakrishnan in the bar is a representation of the mentality of the people of a certain time period towards alcohol. It represents how someone of a higher class or creed would seem classless for entering a bar. Rishi’s concern is shooed away by

Jayakrishnan as he tells him that shame has nothing to do with drinking a beer on a hot sunny day. For the first few moments, Jayakrishnan talks to Davidettan and orders lime juice for himself and Rishi. As Davidettan moves away to fix their drinks, Jayakrishnan convinces

Rishi that a beer is what would cool them down. As Davidettan returns with their drinks,

Jayakrishnan enquires as to whether there is chilled beer. This results in laughter from different parts of the bar, from Davidettan and the other members seated there. This shows how Jayakrishnan has been an active member of this set up.

Fig. 2 shows the three in conversation in the bar. The bar also seats people who belong to a different strata of society in terms of the income they earn. Taking this Nandakumar 39

acquaintance as a sign, what can be noticed is that a negotiation has taken place between both the sides of Jayakrishnan. Taking the bar as a space, it is evident that the time period speaks to us through the frames that portray the bar. The 1980s saw people occupying jobs in other countries. This income was invested in India and most often resuted in the liquor business.

With a higher standard of living, people preferred to drink more expensive liquor to regular toddy. This shows the economic and social boom of the time. This scene in the film is suggestive of not only the kinds of individuals who came together to drink, but it also upholds the higher importance of fraternising and socialising. This became the foundation for many friendships to blossom, over alcohol and other operations and ideas that were otherwise frowned upon. Therefore, the bar become a space that showed the other side of man, the side

Fig.2 David, the bartender in conversation with Rishi and Jayakrishnan. Thoovanthumbikkal.

Youtube. 2015. where inhibitions were lost.

The physical space is a fluid space. Making use of this space for our understanding has clearly demarcated the idea of what is real and what is apparent. It is not what it seems to be much as how our protagonist Jayakrishnan is not what he seems to be. The physical spaces become an example of how fragmented Padmarajan’s characters can be. His usage of dual natures is not only present in Jayakrishnan but also in Clara and Radha. But these changes Nandakumar 40

don’t function on an external level. They perform on an internal level and urges the spectator to do a deeper reading of the characters. The physical spaces are the realm through which one reads what a specific geographic space is capable of. Therefore, the physical space then translates itself into a mental space. We use our cognition when it comes to understanding signs and symbols in a physical space using which we mark the mental space.

The mental space is a space that is conceptualised space. This conceptualised space within Thoovanathumibkkal takes the shape of how we assume the physical spaces are with

Jayakrishnan in it. The physical spaces can be classified based on the women with whom

Jayakrishnan is involved. Jayakrishnan’s life in the village can be conceptualised by Radha, the first ever woman he takes initiative with on a romantic level. The physical space gets rewritten into the mental. The audience is led to imagine the town of Thrissur on a whole new level, as Padmarajan has contrasted both these physical spaces using people and relationships.

Jayakrishnan first meets Radha as she arrives with her sister-in-law to Mannarathudi to invite his family for their grandmother’s 80th birthday. The ‘Shathabhishekkam’ is the 80th birthday celebration, which especially among the higher caste and the richer folk is a very important custom. Such customs are probably looked over in this time and age, except of course in traditional families. Invitations would probably have been sent via post or communicated through phone calls. But, Padmarajan captures the social norm of the time. His focus on the finer aspects of the time are shown through events and objects within the film.

Though Jayakrishnan is rejected and then later approached again by her, we sense a divide in his association with her after Clara has entered the picture. Jayakrishnan mingles with her in very few locations. These physical spaces are restricted to the temple, their homes and a particular coffee shop. This temple, though it is geographically placed within the city, it is seen as a part of Jayakrishnan as a representation of Manarathudi rather than Jayakrishnan as a person from the city. His activities at home and his activities within the city are all an Nandakumar 78

Chapter 4: Conclusion

Since the beginning of the history of Malayalam cinema, there has been a strict understanding towards how movements and schools of thought have come about. Film theory plays no inseparable role in the formation of this research’s backbone. A philosophical understanding of the self and the dual nature of existence is the main crux through which this research has been defined. Duality of existence is an element that arises out of the many films that Padmarajan has written and made. In the films that have been chosen for this research, the element of duality of existence has been the link between each of the films. Duality can be of several types; duality can be on the basis of the ‘self’ or on the basis of the individual’s identity. But this research focuses on how duality can exist on the level of the subject’s existence. While looking into the idea of ‘existence’, it is necessary to look into all the factors that the subject has involved or engaged with. To understand this further, the research has been broken down into two larger, overarching levels of duality; external and internal duality.

To arrive upon this, the theoretical frameworks of Existentialism and Kant’s theory of

Practical Reason with the help of the methodologies of textual analysis and semiotics have been made use of.

The central argument of this research is that there exists duality on every level within the films that have been chosen. These levels of duality act as a lens through which Kerala of the 1980’s can be understood. To begin, it was necessary to define what ‘duality’ and what

‘existence’ meant. This duality was traced within the existence ie; the state of an individual’s life. External duality defines the split in the individual’s existence from the point of view of what is on the outside. This is comprised by two broad ideas; appearance and space.

Padmarajan places it as the pretext to our interpretation of duality itself. This two-dimensional reading of appearance forms as the ‘noumenal’ reality. Nandakumar 79

The external duality complements the formation of the internal duality. Within this understanding, what can be taken into notice is that space becomes the viewpoint through which internalised emotions are brought out into the open. The phenomenal reality is also therefore an embodiment of the external duality. The chapter on External Duality ends with the note that the duality that is formed points to the internal split. Though both these dualities affect each other, the larger understanding that arises out of this duality is how Kerala is represented culturally and socially. Therefore, the cultural and social artefacts of Kerala of the

1980s is represented through the chosen films.

The idea of internal duality has been arrived upon on the basis of looking into the individual, his mind and his psyche alone. The psychological aspects presented in the films help the spectator to demarcate between what is ‘real’ and what is ‘apparent’. What becomes

‘apparent’ is the phenomenal reality. The phenomenal reality can be defined as anything that sprouts out of a psychological association. The chapter has been divided on the basis of concepts of Existentialism: Authenticity, psychological impact that arises out of the need to remain away from society, confusion and angst. This becomes our phenomenal reality. The internal duality points to how the ‘common man’ functions. This ‘man’ stands as a representation of how people and societies of the 1980s Kerala were. In conclusion, the chapter on internal duality points to how the ‘man’ of the 1980s functioned. Through the man’s existential crises, the man is portrayed. It points to the psyche of the man of the 1980s.

The argument of the research points to how there exists a form of duality on multiple levels. These levels have only been explored on the level of the individual and his surroundings. There are multiple possibilities and areas into which one can look and explore to check whether there are different forms of existing dualities. With the use of visual signs and symbols, it has been identified that there exists within the films, certain objects and artefacts that suggest the cultural and social ethos of Kerala of the same time period. Though Nandakumar 80

this has been arrived upon from the reading of external duality and an analysis of the time period, the internal duality only points to the individualistic aspect. The external duality defines what brings about a society, what exists on the outside that affects the inside. As this is identified, one notices how stereotypes are broken by also redrawing an image of Kerala and the way in which it used to function. A very liberal rendition of what existed in the social, political and cultural environment of the time can be identified. Now, as the times have moved on to a faster paced, technologically driven framework, these stories and characters become evergreen and universal.

The larger understanding that can be derived from the research is the idea of how

Padmarajan’s films or rather, the selected films act as a stark social reflection of the ethos of

1980s. This social reflection encompasses all aspects of a society. Indirectly, it also impacts the political side of the 1980s. The films have looked at how the mentality of the common man views life and the various external aspects that influences his sensibilities. A cultural representation of Kerala as seen through the various spaces can also be identified within the films. This identification also points to how some spaces preserve a certain culture even to this point in time. Under the present circumstances, some representations of what is seen as the culture of Kerala are preserved even now. The films capture the fabric of the 1980s and conserves them. On a deeper reading of it, the spaces represented in the film indicate a conservation of beliefs, customs and traditions which form as the essence of Kerala of the

1980s. Kerala is proceeding towards a time of development in thought, infrastructure and practices. Even though these changes are being welcomed, the cultural fabric of certain areas remain the same or rather, they continue to remain the same as what used to be in the 1980s.

These representations of the 1980s are striking within the film and they stand out as the observations are made in the present. Nandakumar 81

To contest the research would mean to break down the concepts. By breaking down the concepts, it has been understood that duality can be multidimensional. For instance, by challenging the idea of duality, what can be understood is that the various time periods before

1980s and after could also have an essence of duality. The ‘duality’ can also be viewed as the director’s way of addressing the human condition, in itself. Labelling it as duality can be one of the multiple options available within the sea of ideas and concepts that are available, if one were to say that duality is a factor that is common to all times. The portrayal of the human condition has been universalised by Padmarajan, if we conclude that the characters and the situations present in his films are a specimen of that time. Relationships, conversations and unconventional stories are written and stereotypes are broken. If these breaking of stereotypes are read as there existing a kind duality, our understanding of the world in itself could be dual, rather than identifying the particular setting within the film as dual.

There is a larger scope for the research to be taken forward. Using more Indian theoreticians or film theory can be seen as a point through which this research can be extended and continued. The scope of this research would allow the researcher to look into other forms of duality which may arise out of the film. Kerala cultural, social and political environments are some of the few angles through which this research can be viewed. There still remains multiple angles through which Kerala can be viewed. Within duality, it is the aspect of existence that has been lightly explored. There remains several different ideas of existence that has been unattended within this research. The lack of existing literature on this topic reduces clarity on the area. Due to lack of proper documentation on writings on cinema, there is limited writing available on duality and Malayalam cinema. Research and writings have only looked at Padmarajan as a pioneer of middle stream cinema so far. To move beyond that idea would be to look at the different kinds of stereotypes that he has broken, to identify his style of filmmaking. What has limited this research from becoming a grander one is the Nandakumar 82

nonexistence of academic articles. Newspaper articles, magazine entries, blog posts and reviews are some of the different kinds of writing that exists on Padmarajan. The scope of the research can extend to an academic and to a philosophical level. In the Indian research system, there is the need for validation based on theoretical information. The ability to assign film theory or other theories like Feminism, Psychoanalysis and so on are some of the qualities that Padmarajan’s films possess. His body of films can be redrawn and a pattern can be formed on the basis of other theories that exist. Textual analysis of his films give way to the presence of multiple kinds of ideas and thoughts. Within this research, the scope of drawing a parallel to an Indian philosophical movement is one such area upon which the research can improve on.

Kerala’s culture and atmosphere of the 1980s has been identified within the framework of all the three films. Therefore, the question that needs to be raised is what factors sets apart 1980s from other time periods? It is ideally through negation or comparison that the

Kerala of the 1980s has been arrived upon. This contrast may have been an effective way to understand how the culture of Kerala has been conserved. To understand what demarcates

1980s from other time periods would suggest that there are certain defining qualities to each time period. But this research only focuses on how certain spaces and certain ideas or concepts that exist in a particular context are representative of this specific time period. On the whole, to conclude, the research focuses on duality from the point of view of existence.

Existence becomes only one of the many points through which duality can be understood.

Multiple possibilities within the same realm is the capacity that exists within many of

Padmarajan.

The focus of this research must be on what this duality suggests. What aboout the identified duality stands out? What does this duality signify? After going through the various objects, spaces, ideas, rituals, cultures and behaviour of the people that exist in the chosen Nandakumar 83

film, it has been understood that Kerala of the 1980s has in itself a certain sense of divide.

The 1980s in itself becomes a dual space. This dual space is in terms of its social and cultural fabric. On analysing the 1980s, it has been understood that from the angle of how the culture of the time as presented in the 1980s is reflected as it is through the films. As challenging as this representation has been, Padmarajan also points out the stark contrast between how dual the society is and how the duality is hidden in reality. At the grass root level, what can be understood is that this duality, which is being analysed in terms of culture and society, is further divided when translated from reality. In reality, they are hidden. The way certain cultural aspects such as religion, for instance, is propagated is multidimensional whereas within the films, they would be straightforward, presented plainly to the one who is viewing it. This makes it clear that this duality that existed during the time period was concealed within that social set up. While Padmarajan breaks stereotypes about prostitution, gender roles, behaviour, religion, substance abuse, class politics and cultural codes, he points out to how society successfully portrays both sides of the same coin. Therefore, through his films, he silently critiques the way in which cultural, moral and social codes are chartered. It has been established before that the external factors lead to the internal duality and that they compliment each other. Out of this association, what can be understood is that the external duality places for us factors that link it to the Kerala of the 1980s. If there could exist a certain factor of the time period which Padmarajan could present in a completely different light, drawing to it another understanding of that factor itself, it can be thoroughly established that duality existed during the said time period.

Duality existed in the mindsets of the people, in the way in which spaces, places and ideas were perceived and in identifying and segregating what society expects of us and what we expect from society. For Padmarajan to pick out and drive these ideas to the general public would mean to pick out these instances from the tangible world. The 1980s saw a culture that Nandakumar 84

promoted a liberal outlook in terms of political views and religious views. The same period saw a hike in tourism. During the time, migration had become a common factor. Some moved to the Middle East while some moved to newer, bigger cities in search of better opportunities.

In terms of literature, art, music and cinema, newer ideas, movements, schools of thought and many new individuals with their own sense of style had entered the picture. The 1980s defined for Malayalis, a period during which a cultural reformation took place. The world as it had gone through a certain sense of reform. But, within this reformation as well, traditionalists and their rituals, thoughts and ideas had a specific space. Therefore, 1980s become a balanced ground for both of these to coexist. Padmarajan’s films portray this balance. This balance is shown in the form of duality.

What Padmarajan tells us through his films is that there is always a part to an individual that embraces what society does not expect from them. And in this movement away from what is unconventional, the normalcy of it all is spotted. To conclude, the research suggests that through the analysis of external and internal duality, the Kerala of the 1980s is written. The Kerala of the 1980s is mirrored in the films through the external and the internal objects. And the larger understanding that this duality caters to is that it is a part of the 1980s ethos. The duality is reflected in the time period. The ultimate finding of this research is the mirrored image of the duality in itself, from reality to the reel which suggests to us that duality was a part and parcel of the time period in itself.

This research has opened a small door into the universe of possibilities that exist.

These multitude of possibilities available defines for us the various methods of understanding, analysing and interpreting the world of Padmarajan’s writing and cinema. It is through the challenges that this research has faced which will help in understanding the true intention of what ‘duality’ does in terms of space and individuals and their understanding of each other.

Padmarajan’s films mark for us the golden period of malayalam cinema. His films are Nandakumar 85

evergreen. What makes them popular, to this day, is the universality, the relatability and the uniqueness of his characterisation. But above all, Padmarajan told stories like none other. His stories focused on the minute details of the everyday. Standing unparalleled, these tales of the mundane were made magical by Padmarajan’s treatment of the same. As this research points out to the social and the cultural fabric of the time through his films, it gives us a sea of options to explore. Padmarajan left behind for his audience a world of ideas to design according to our needs. From the standpoint of an academic research, ‘duality’ becomes only one of the many factors that can be examined and evaluated. Padmarajan’s films are a journey into the most realistic, humane and expounding aspects of a culture, a community and a time period. As he brings this time period to the world, the 1980s becomes conserved for people to look back to, again and again.

Nandakumar 86

Works Cited

Aparan. Dir. P.Padmarajan. Perf. Jayaram, Shobana, Madhu, Mukesh. Thomson

Film,1988.DVD.

Baggini, Julian. "Jean-Paul Sartre: Existentialism and Humanism (1947)." Philosophy: Key

Texts(2002):115-33.Web.

Crowell, Steven. "Existentialism." Stanford Encyclopedia of Philosophy. Stanford University,

23 Aug. 2004. Web. 15 Mar. 2017.

Deshadanakilli Karayaarila. Dir. P. Padmarajan. Perf. Shari, Karthika, Urvashi, Mohanlal.

Dinny Films, 1986. DVD. Deshadankilli Karayaarila.

Kemerling, Garth. Kant: Knowledge, www.philosophypages.com/hy/5g.htm. Accessed 24

Sept. 2017.

K, Vasanthi. Malayalam Cinema Society and Politics of Kerala. Thesis. University of

Madras,

1990.Web.

Lefebvre, Henri, and Donald Nicholson-Smith. The production of space. Malden, MA,

Blackwell, 2009.

Mitra, Aparna, and Pooja Singh. "Human Capital Attainment and Gender Empowerment: The

Kerala Paradox." Social Science Quarterly 88.5 (2007): 1227-242. Web.

Thoovanathumbikal. Dir. P. Padmarajan. Perf. Mohanlal, Sumalatha, Parvathy. Gandhimathi

Films, n.d. DVD. Thoovanathumbikal. Sitara Pictures. Web.

Sartre, Jean-Paul. Being and Nothingness. Abingdon: Routledge, 2007. Print.

Varghese, Benedict. Rethinking Religion Redefining Politics Malayalam Cinema 1970s 1990s

and beyond. Thesis. Tata Institute of Social Sciences, 2012. N.p.: n.p., n.d.

Shodhganga.Web. Nandakumar 55

Chapter 3

Internal Duality

Internal duality largely deals with the individual, his/her characters and what makes them behave or perform in a particular manner. Identity is what defines existence. When we exist as something in particular, in a given situation and place, we assign ourselves an identity. According to Aristotle and his Law of Identity, there only ever exists one identity. In

Aristotle’s understanding, it somehow seems that to not have an identity is to exist as

‘nothing’. As much as this statement holds true, the idea of being in a state of ‘nothing’ is largely impossible, Aristotle firmly held faith in the idea that there was a purpose to one’s existence. Though the Aristotelian idea was largely conventional, it is difficult to assign these ideas to one particular individual. It is evident that, in a society, people are expected to perform in a particular manner and to actively demonstrate certain roles. But these roles are what are designed for them, rather than these roles being chosen by the individual.

While analysing the films, it has come to be noticed that there could exist no one single pattern in the mind, behaviour or rather, existence of an individual. It is the culmination of multiple different aspects, all defying the tendency to form a pattern. For example, it is often construed that an individual who leads a life away from urban spaces may be closer to nature and would rather be engaged in activities that involve cultivation and farming. Though this forms as a stereotype, this is not entirely true. The protagonist of Thoovanathumbikal stands as an example for this particular situation.

The idea of there existing a duality on two levels, asks for a quick understanding of what these levels mean. It is necessary to understand that the key area of this research lies in the idea of ‘identity’. What we refer to as identity, can be collectively or commonly identified as ‘personal identity’. Personality is that what we choose to view ourselves as. These are Nandakumar 56

logical choices that man chooses for himself so as to portray his behaviour and actions in one particular manner. They consist of behavioural, cognitive and emotional patterns that a human designs. Now this designing becomes a part of one’s identity. Identity is also a choice.

Identity is formed through personality and becomes what one collectively recognises himself as. A person identifies himself as something based on his/her beliefs. What will be analysed in this chapter is the multiple different beliefs that result in multiple behavioural aspects that define the duality in the films. And this duality is to be placed in comparison with what we know about the ethos of Kerala in the 1980s. To pick instances from the films, this chapter is further categorised based on the chosen films, our understanding of the duality within it and what position it takes based on our understanding of Kerala.

The analysis will be done based on three ideas: Authenticity, the psychological impact that arises from the need to move away from societal standards, confusion and angst. These three ideas have been arrived upon on the basis of the concept of internal duality alone.

Internal duality as established before is related to the way in which the mind of the individual functions. These three ideas that has been arrived upon on the basis of a pattern that has been drawn from an existential understanding of the films. While tracing the existential patterns within the films, these three ideas exist in common in all three films. Therefore, these form as the larger lens through which the finer elements of internal duality will be looked into.

3.1. Authenticity:

If one had to quickly translate what authenticity meant, it could suggest the idea of being ‘original’. Authenticity is choosing the nature of one’s existence and identity

(Heidegger). In association with the understanding of internal duality and this research, the meaning of authenticity is solely in terms of the individual. Authenticity can be described as the need for an individual to remain closest to his true self and to stay away from external factors that could influence or interrupt a human’s way of life. For Sartre, only our choices Nandakumar 57

and their projected ends define our situations as meaningful, as threatening or favorable, as affording certain actions. A human is constantly learning, while he is in a state of consciousness, as he is coming to terms with the external factors that could manipulate the material world in which he lives. As a result, we could say that ‘authenticity’ is a process through which an individual walks, which would be fueled by apparent angst and dread.

In the films that have been chosen for the research, it has been understood that the characteristics of angst and dread have conceptualised for us an existential overview of what authenticity means. It has been observed that duality has been interwoven into the fabric of these films. And this duality, on further analysis, has been represented through the ideas of angst and dread. It has been noticed that throughout the length of these three films, there have been situations where the subject of the film or certain characters have appeared conflicted and divided.

In Aparan, Viswanathan is confused to be someone else, a criminal. This film marks

Padmarajan’s effort at disorienting our understanding of the ‘hero’, making it difficult for us to realise where the protagonist and the antagonist lie. Here, the idea of the ‘hero’ is a constructed one. The ‘hero’ becomes the do-gooder, the ray of hope and the one that triumphs over evil. To refer to the antagonist, we use the term ‘antihero’ as there definitely exists a chance for the antagonist to be the hero himself especially through the presentation that

Padmarajan chooses for the characters. Padmarajan plays with this idea and makes us question if the ‘hero’ truly has all of the above mentioned characteristics. Viswanathan places himself in the situation where he would like to come across the criminal so that his internal turmoil is balanced. For Viswanathan, attaining his true self would mean to stoop to any level.

Padmarajan weaves an age old trope of good vs. evil for the viewer. These tropes are what exist in our undersetanding of society on a large scale. He derives assumptions and popular imagination and translates it on a cinematic level. What is evident is the nature that Nandakumar 58

Viswanathan has before his transition which is highly linked to the idea of what an ideal man of his age must fulfil. He falls into the category of a virtuous, hardworking man who is born into a family that is considered the same way. Viswanathan’s conversion in thought, nature and behaviour represents the exact opposite of what is largely expected from a ‘good’ man. A person from the time during which the film was shot would ideally be educationally qualified, on a formal level. He would ideally fall into a category of people who would work hard towards an honest living and lead a life that compliments the needs of his family, his friends and the society to which he belongs. In the initial scenes, Viswanathan establishes himself as one such character, something that may have been easily identifiable at the time during which the film was made. His family set up suggests the same idea as they appear close knit.

Viswanathan’s mother falls into the category of the loving mother who would pray endlessly for her son. Viswanathan’s father becomes the proud man who has great expectations from him.

The film reveals how Viswanathan plots against the unnamed criminal to earn his name back. By pretending to be the criminal, the protagonist roams around the city, walking around and exploring the possible spots where the criminal could be. By doing so, he tries to get closer to the criminal. If he gains access to the criminal, he gains access to revealing his true self and identity. The last sequence of the film shows the protagonist planning to keep the money and this also reveals to us that the antihero is tailing him. The viewer could doubt the hero’s intentions as either revenge or greed. With the body language of the hero, it is clear that there is an inclination to both sides. The protagonist and the antihero come in contact for the briefest period during which the antihero’s face is not revealed to us. But, the antihero dies in this process and the world mistakes the hero to be dead. While the protagonist reveals to his father that he is still alive and that the antihero was the one who was rightfully dead, there enters into the frame a very eerie sense of confusion. The protagonist walks to the funeral Nandakumar 59

pyre where the last rites of the antihero was performed and he smiles the most diabolical smile (Fig. 1). The smile marks the end of the film and also reveals to us that the protagonist is in fact happy despite the confusion involved with the death of the antihero. For once, the hero probably feels like he has attained his true self, a self that is his own. But this self is split, strewn between being the do gooder and the one who would go to any extent to make sure that he remains intact. But the smile could also suggest to the viewer that the antihero is not dead and that the person we see on screen is not Viswanathan. Therefore, duality does not only exist on an internal level within the characters, it also exists in the content of the film leaving the viewer confused as to who the criminal was all along.

Fig. 1-Viswanathan’s diabolical smile as he looks on to the pyre. Aparan. Web.

Fig.1 suggests the complete transformation that Viswanathan goes through as an individual. This forms as our phenomenal reality. This reality is the world that is constructed out of one’s experiences and that individual’s consciousness. Viswanathan’s metamorphosis from do-gooder to antihero is seen through the way in which he performs in the physical and the mental spaces as shown in the previous chapter on External Duality.

Padmarajan’s Thoovanathumbikal stands as a classic example of dual natures existing within a single entity. The film revolves around Jayakrishnan, the protagonist who seemingly Nandakumar 60

leads a provincial life, conducting his daily life through farming, taking care of household chores and so on. He lives a quiet life in the village with his mother and sister, seemingly oblivious to anything outside of the village he hails from. But as the film progresses, one finds out that Jayakrishnan leads a completely different life in the city. He mingles with the creme- dela-creme of the city and is also quite infamous for the many deeds he had done during college. Jayakrishnan seems like an extremely influential and powerful figure in the city while contrasting with the life he leads back home.

The central story revolves around how Jayakrishnan falls in love with Radha, a distant relative of his, only to be rejected by her. On helping out a woman who has chosen the life of a prostitute, Jayakrishnan gets involved and soon enough finds himself heavily attracted to her. Unable to remove himself from the situation, Clara, the prostitute-to-be reminds him that a life with her is not what is meant for him. To complicate the situation further, Radha returns to Jayakrishnan, revealing that she had been wrong about him. And thus, Jayakrishnan becomes strewn between both women and this divide becomes a sign of his dual nature as well.Though it is necessary to stress on the idea that internal duality is characterised by angst and dread, one must understand that the idea of ‘authenticity’ in itself is designed and understood through the idea of angst and dread. In the film Thoovanathumbikal, after

Jayakrishnan is exposed to both the women, the confusion is evident. We see him embracing this confusion to the level where he acts on it. For him, he is strewn between Clara and

Radha. On his wedding being fixed with Radha, he still plans to visit Clara when she comes to bid him farewell for the last time. Though this makes Radha irritated, he still goes ahead to meet Clara.

This marks a very important aspect of the concept of ‘internal duality’ in

Thoovanathumbikal. For Jayakrishnan, the meeting with Clara marks the end of his association with her. He finds it difficult to negotiate with this particular idea as he has Nandakumar 61

feelings for both Clara and Radha. After not having heard from Clara for a very long time, after their first meeting, we see Jayakrishnan receiving a telegram that announces Clara’s arrival. And this scene is supported by the haunting background music of the film and rain.

Clara and Jayakrishnan’s love is portrayed through rain in the film. From the first moment onwards where Clara, even indirectly, enters Jayakrishnan’s life is shown through the metaphor of rain. For Jayakrishnan, he himself isn’t sure as to what he may do if he comes across Clara at any point. And he reveals this to Radha. Though Radha outwardly shows no problems with this, she does vocalise how she feels towards the idea of Jayakrishnan meeting

Clara again and again. As Clara contacts him for the very last time, Jayakrishnan is seen telling Radha that he is unsure of what he is capable of when it comes to Clara. This creates friction between Radha and Jayakrishnan, but he proceeds nevertheless into doing what he wants to do, which is to see Clara. This proves to the spectator that, somewhere in

Jayakrishnan’s heart of hearts, he would always remain a little unsettled as long as Clara is in the picture. Jayakrishnan has to attain a sense of balance within himself, though on some level he has truly embraced his duality. Clara signifies a huge part of Jayakrishnan’s being, the other half of which is characterised by Radha.

Jayakrishnan has two different personalities depicted in the movie, as already mentioned before. One side that handles the most provincial of all problems and the other side that shows the image of power over the operations of a city in Kerala. His choice to balance both these dual lives at the same time is an indication of how he evaluates himself.

Jayakrishnan, within himself, is divided according to these two natures. Putting these together, his being is formed. For Jayakrishnan, he denies what is approved by society, though he does that in the most discreet of all ways. This somehow mirrors the idea of rebellion which was quite popular during the time. This idea of rebellion was propagated through the various other cultures that we have accommodated. Jayakrishnan’s being represents the ideal Nandakumar 62

behaviour vs. a free spirit. His life in the city, his position as a man who has a lot of power is reflected in the way in which he is made to deal with Clara by Thangal. His life in the village is somehow represented through the way in which in his life with Radha could turn out to be.

These two aspects encompass the being that Jayakrishnan is. Jayakrishnan is truly himself when he juggles both these lives. He balances the societal understanding of things through his life at home. He fulfills his duty as a son and as a responsible family man through his life at home. Whereas, he executes his vigour for life through the power that he holds within the city of Thrissur.

Padmarajan’s Deshadanakilli Karayaarilla is a classic example of dual natures that exist within the psyche of a person. The beginning of the film reveals to us that Nirmala and

Sally are two high school students. They are best of friends and are most often found playing pranks on others and especially on one of their teachers, who constantly catches them for being mischievous. They run away from their group during a school trip, as revenge against their teacher. They abscond for a while which results in their teacher being suspended from school. They live under fake identities for a little while and eventually results in a situation where they end their lives. The relationship that Sally and Nirmala share have most often been misconstrued by critics and viewers as a lesbian relationship. On analysing both the characters, it has come to be noticed that Sally makes the most amount of decisions among the two. All the ideas that they turn into one of their episodes of mischief are usually Sally’s brainchild. Therefore, our main focus in terms of internal duality is on Nimmy, as her character defines a certain divide. Sally is the more domineering figure, whereas Nimmy willingly agrees to what Sally has to say or do. This is established when Sally comes up with the idea to sabotage a magic program that Devika, their teacher organises in school. Nimmy disagrees with the idea, not only because it is unsafe, but also because it could get them into trouble. It is evident that on so many different occasions, Nimmy seems to be strewn between Nandakumar 63

doing the right thing and doing what Sally wants her to do. On close analysis, it has been observed that almost all the situations have been initiated by Sally.

The most important aspect is the equation that Nimmy shares with her family. She seems to have a father who is an alcoholic. There is no mention of her mother except by another teacher who suggests that her mother died while Nimmy was very young. Her father is involved with another woman, according to this teacher. Her father represents a rich, spoilt brat of a man who can buy the world with his money. These tropes suggest that he may have been an NRI. It is very evident that both Nimmy and Sally are neglected children and that they crave for some form of attention. Besides having each other, they do not have any form of closeness shared with anyone else. Nimmy seems to be divided between wanting someone who will care for her and being happy with just Sally. But this confusion only enters

Nimmy’s life after she comes across Harisankar. Nimmy and Sally meet Harisankar at a restaurant and he quickly establishes contact with them. Sally is very skeptical about Hari, but

Sally quickly takes a liking towards him. He comes off as pretty forthcoming. To the viewer, it seems like the start of a romantic relationship. Sally wants to hide their original identities from Hari, whereas Nimmy quickly reveals her name but keeps Sally’s details secret. What can be understood here is that Nimmy feels a void in her life that develops from the lack of emotional contact with another person besides Sally. Another major point that plays here is her age. As she is an adolescent, she tends to be infatuated with Hari. But, after revealing so much of herself, we see Nimmy telling Sally that she finds a lover, a father, a companion and much more in Hari. What one senses is that Nimmy begins to let herself be defined by Hari.

She craves Hari’s attention, despite Sally’s pleas to be careful. It is evident that what Nimmy craves for is a male figure in her life which she satiates through her engagement with Hari.

The most shocking aspect of this film is when one finds out that Hari never had any feelings for Nimmy. He finds out about Devika, someone who he had been searching for a Nandakumar 64

very long time, through Nimmy. Hari had gotten into some sort of trouble at his workplace because of Devika and had lost his job. But every month, he had received money orders from her, anonymously, since she felt personally responsible for his loss. Another aspect that speaks heavily about the 1980s is the usage of the Indian Post which has probably now taken a back seat due to the rise of electronic media. Money orders have now been replaced by net banking. But in the 1980s, those were the only few ways in which money could be transfered from one person to another. Unable to track Devika, Hari comes across a picture in Nimmy’s album from school. Hari’s behaviour towards Nimmy becomes a little indifferent to the viewer. What can be understood here is that both Nimmy and Hari are the two characters in the film that are directed by a particular goal. For Nimmy, the aim is to achieve Hari’s affection because she believes that he can complete her. And for Hari, his gratitude towards

Devika has now manifested into love. This creates a fragmentation in Nimmy. She reveals to the spectator that she cannot survive without Hari, that her existence is now defined by Hari.

Nimmy’s shot at being her truest self is with Hari. And Hari’s heart lies with Devika. At the end when Sally and Nimmy commit suicide, the spectator is aware that the reason behind this is not merely rebellion, but it arises from a certain sense of helplessness. Especially in the case of Nimmy, she feels helpless as she has the feeling that she may never attain her true authentic self without Hari. As for Sally, it is evident from the start that her understanding of existence is to do as she pleases, and her escape from school only redefines this further. But, she is driven to the point of suicide because she cannot come to terms of dealing with a life where she would have to follow orders. Crippled by the fear of being tied down, Sally also commits suicide alongside Nimmy. For Sally, essence precedes existence. For Sally, the nature of existing is more important rather than existing itself. The conditions under which

Sally would exist defines her life rather than living in itself. Nandakumar 65

Nimmy and Sally attempting to run away from school is not merely to attain revenge.

Their motivation to avenge comes from the need for independence. Though, if one does an in- depth psychological analysis of this, their need for freedom comes from a lack of attention.

But it is also evident that Sally and Nimmy come off as two extremely confused teenagers.

Their attempt to do what they want the most, which is to be free, also involves defying what is commonly accepted by society. And by defying their school’s rules and their teachers, Sally and Nimmy set standards for themselves. For them to be ‘authentic’ is to be able to do what would truly make them happy. The idea of being free, and not having to follow rules is what -

-Nimmy and Sally hope for themselves. What Nimmy and Sally face is shown through their confusion and their rebellion.

3.2. Psychological Impact arising from the need to move away

from societal standards:

In all three films, there is an evident and immediate psychological impact that arises out of their attempt to become authentic. And this psychological impact is most often portrayed in a negative light. As was understood in the previous chapter, a noumenal reality is created by Padmarajan. He creates a pretext for the spectator through his treatment of space.

The other side to Kant’s idea of a noumenal reality is the phenomenal reality. The phenomenal reality, unlike the noumenal reality, is a result of the many psychological associations that one makes. This phenomenal world is the material world. It comes through to the phenomenal realm from the noumenal realm. What happens in the noumenal realm compliments the phenomenal realm. The phenomenal world is one where experiences are created. The internalised emotions which are created as a result of the noumenal reality can be identified within this category of the dual aspect present within the films. Nandakumar 66

In Aparan, the psychological impact of what Viswanathan faces is portrayed through the many decisions that he takes. After Viswanathan’s life takes the downhill path,

Viswanathan is seen plotting against the criminal. Viswanathan is psychologically prepared to tackle the criminal by himself because it has reached a stage where unless he takes control, there would be no change in the situation. Therefore, the viewer finds Viswanathan roaming around locations and spots that the unnamed criminal would most likely move around. By deceiving others into believing that Viswanathan is the criminal, Viswanathan believes that he would get closer to the criminal. By getting closer to the criminal, he could have an opportunity to come face to face with the criminal and thereby dealing with the situation at hand. For the spectator, it is already known, as there is a sense of impending doom, that things may not end well. As Padmarajan rewrites for us, the idea of good vs. evil, we see the mental transformation of an otherwise good man into something that he may have never assumed to turn into. Viswanathan, in the initial scenes of the film is portrayed as someone who cannot defend himself without the help of law. As time passes by and as situations also go by, we see

Viswanathan becoming cold. His personality transforms into one that suggests that he would stoop down to any level to claim what is rightly his. What Viswanathan loses is his face, his personality and his identity. This duality that is created, though externally, has a huge effect on the internal.

There are several scenes in the movie that are indicative of a shift within the hero’s self. The hero, Viswanathan, upon having his life turmoiled by the antihero is often found staring at his own shadow. In fact, the title of the movie is transposed with the scenes of the hero’s shadow enlarging on a wall as he walks up towards it. In another instance, the hero closely observes the shadow of his head on the wall and ponders. Accompanied with an eerie style of music, this scene speaks to the audience about the way in which the hero’s life has been affected by the antihero. In another scene, the hero is seen looking at a reflection of Nandakumar 67

himself in a mirror placed on his table (Fig.2). This scene is seen indicative of the transformation of the hero into something that defies every idea that waas placed parallel to the phenomenal reality that is created within the film, which does not exist independent of the mind.

What Viswanathan faces can be typically described as a deep existential crisis. And his angst and confusion is a part of the psychological impact that is created for Viswanathan.

Viswanathan’s internal gets translated to the external as well. Viswanathan’s psychological impact does not necessarily arise from the need to not abide by societal standards. His need for salvation from this confusion of identity is what drives him to become like the criminal so as to reach the criminal.

Fig.2 Viswanathan staring at his own reflection. Aparan. Web.

At this point, Viswanathan does keep aside what would naturally have been accepted by society. He takes the situation into his hands and deals with it in his own way. What is commonly accepted by society is law and order. This law and order fails to protect

Viswanathan and also doubts him. Therefore, Viswanathan is convinced that he must be the bearer of this situation. At the beginning of the film, we see Viswanathan surviving with the support of all the other members of his family and his lover. But as the film proceeds, we witness Viswanathan’s being diminishing into himself, holding on to what is left of his own Nandakumar 68

self. The last scene of the film confuses the spectator as one may not know what it hints at.

But, on a personal note, it can be understood as Viswanathan finally having obtained what he truly wanted- the death of the man that created the chaos and confusion that he apparently faced.

One of the most visible forms of the transformation in the protagonist is in the change within his dressing style to resemble the antihero. From this point onwards, the hero becomes the infamous criminal himself to come across the real antihero. When he comes in contact with a man who could have been involved in a deal with the antihero, the hero makes use of this situation to reach out to the criminal. Instead, he is assumed to be the criminal and rewarded with a lot of cash. This is the true point of the dual nature that you see within the hero. The hero decides to keep the money, though it isn't his. He convinces himself that he deserves to keep the cash as this is the price that the antihero has to pay for ruining his career, his reputation and his family’s trust on him. This duality can be explained as the final attempt by the hero to understand that his life was his own and the consequences truly his. This duality also sprouts from the angst that the hero visibly faces. His misfortune is apparent leading him to question the purpose to life and the reason behind him being put through all of this. This is the point where the hero realises that it is his existence that is vital and not what society demands of him. With this full realisation, the hero goes on to become like the antihero.

In Thoovanathumbikkal, Padmarajan contrasts the idea of two opposing qualities, or otherwise, largely expected to be opposing qualities. These opposing qualities exist not only within the individual or the way the individual performs, but also in terms of representation of the locations within which these individuals move around. Padmarajan creates personal spaces and public spaces and rewrites them according to the idea of duality present within the individual. The psychological impact that arises out of the characters in the film are multiple. Nandakumar 69

Jayakrishnan is seen to develop a very confused and dazed appearance. This appearance is a reflection of what happens within himself. For the protagonist, the psychological impact only creates a stronger divide between both the women present in his life. For Jayakrishnan, Radha represents the heart and Clara represents the body. The heart here refers to not merely love, but also the first time Jayakrishnan ever feels the feeling of romantic love. As for Clara, she represents the body because Jayakrishnan had promised himself that if he were ever to have sexual relations with a woman who had never been with a man before, he would marry her.

Both Radha and Clara represent the divide in Jayakrishnan’s mind.

The impact of the various situations that Jayakrishnan faces can be described as something that drives him to choose between what he wants and what he must do. Also, by choosing to do what he truly wants, Jayakrishnan is going against set rules and norms. But,

Radha and Clara also have psychological impacts of defying societal norms. Radha is attracted to the multi faceted person that Jayakrishnan is. Until the point where her brother reveals to her, the true identity of Jayakrishnan, Radha has the least of all interests to be associated with him. After rejecting Jayakrishnan initially, Radha develops feelings towards him as a result of a conversation with her brother. After finding out about Clara from

Jayakrishnan, Radha doesn’t back down. This goes against the stereotypical response that one would usually expect from a woman. Though towards the end, Radha does inform

Jayakrishnan that she is not pleased with Clara’s arrival. But, Radha performs as the perfect listener. And she also mentally convinces herself that Jayakrishnan would never meet Clara again. When she makes him promise that he would never contact Clara again, Radha questions him whether he would break it. She then proceeds to say that it wouldn’t ever happen because she knows that Jayakrishnan would never break the promise and that he wouldn’t feel like seeing Clara ever again. Radha has wishful thinking. There is a hint of guilt within Radha as she slowly understands that her rejection is what brought Clara and Nandakumar 70

Jayakrishnan closer. She is somewhere between understanding and envious. But, the balance is only lost towards the end of the film, where we see her and Jayakrishnan arguing over

Clara’s arrival.

Clara, to escape her problems, leaves home, letting everyone believe that she is joining a mission. Instead, she takes the role of an escort. Her first client is Jayakrishnan, who also leads her into believing that he is someone else. But, once Clara and Jayakrishnan get close, they reveal to each other their real identities and roles. Clara tells Jayakrishnan that she is meant to go down this path, though to Jayakrishnan, this path seems self destructive. Clara believes that she cannot be with Jayakrishnan, when he offers to get married to her. Clara believed that only good women with purpose in life could end up with good guys like

Jayakrishnan. Her definition of ‘good’ is defined by how well Jayakrishnan and Radha’s background and upbringing are. Clara was meant to take a path of ruin because she deserves nothing less, she tells Jayakrishnan. Clara breaks all stereotypes and chooses a profession that is mostly seen as wrong and unconventional. Though Clara breaks all stereotypes and goes against what is normally accepted by society, she also eventually caters to what would have normally been accepted. As she turns down Jayakrishnan’s hand in marriage, Clara believes that she is unworthy of being wedded to someone like Jayakrishnan. She also draws the contrast and believes that he belongs with Radha, a woman who has a better background and upbringing when compared to her. Clara’s past and background is not entirely revealed to the audience but from what the spectator views, Clara is someone who comes off as incredibly emotionally strong. She makes choices that reflect on her in a positive light. But Clara embraces her choices as a part and parcel of life and yet hopes the best for Jayakrishnan.

Thus, the psychological impact of her choice to become a prostitute creates the divide in her mind when she unexpectedly encounters Jayakrishnan. Her choice to stay away from societal standards eventually leads her to immerse herself further into the profession that she chooses. Nandakumar 71

In Deshadanakilli Karayaarilla, the idea of someone stopping them from achieving their goal is the sole reason behind Sally and Nimmy seeking revenge. They run away during the school trip as their teaching is constantly picking on them for being naughty and rebellious. Nimmy merely obeys what Sally says. There are several situations within the film where we notice Nimmy being a little more cautious and careful than Sally. But Sally comes off as more impulsive. They defy society by running away from school and disguising themselves under other names and roles (Fig.3). Sally and Nimmy depict what was commonly referred to teenage rebellion.

Until the 1980s, the concept of teenage rebellion was not made as mainstream as it was before. Though this teenage rebellion as we know it today is largely identified with the

Western countries, India sees its fair share as well. In Kerala, the rise of the need to go against society was largely seen during this time period. An increase in the use of substance abuse was identified as one of the largest forms of rebellion. As a result of which, coastal areas that were also tourist spots flourished during the time. Some of these were also resulted by the influence of the ‘hippie culture’ in Kerala due to an increase in tourism and specifically educational tourism in the 1980s.

Fig.3 Nimmy and Sally running away from the school trip. Deshadanikkili Karayaarilla. Web. Nandakumar 72

The psychological impact that both of them go through is the undying need to attain freedom. They strive towards it on every level. This drives them to run away during their school trip, a highly dangerous act. But, it does not stop either of them from absconding from school. In the final scenes of the film when Nimmy and Sally find out that Hari is in love with

Devika, Nimmy is shattered. They achieve absolute salvation from their suffering of not feeling loved and from shame.

3.3. Confusion and Dread

In all the three films, the factor that conceptualises the above mentioned points are the feeling of confusion, dread and angst that the characters’ face. In Aparan, the protagonist is constantly mistaken for the criminal. This misunderstanding leads to a downfall in the life of the protagonist. When he is constantly mistaken for the criminal, this creates a great deal of distress to Viswanathan. Viswanathan goes through an internal change which completely transforms his outlook towards life. The confusion that Viswanathan faces is a result of the external factors that influence him. Viswanathan loses out on his job, his sister’s wedding alliance and his peace of mind because of the criminal resembles him.

In Viswanathan, the confusion is not only an external factor, but he has internalised it as he is unsure of how he ended up in this mix. He is seen talking to his friend, who is also the police officer in-charge. Within their conversations, it is evident that Viswanathan has lost everything that he holds dear. The thought of the criminal lurking around somewhere while he gets mistaken to be that person, creates a feeling of angst in him. There are several scenes in the movie that are indicative of a shift within the hero’s self. The hero, Viswanathan, upon having his life turmoiled by the antihero is often found staring at his own shadow. In fact, the title of the movie is transposed with the scenes of the hero’s shadow enlarging on a wall as he walks up towards it. Nandakumar 73

In another instance, the hero closely observes the shadow of his head on the wall and ponders. Accompanied with an eerie style of music, this scene speaks to the audience about the way in which the hero’s life has been affected by the antihero. In another scene, the hero is seen looking at a reflection of himself in a mirror placed on his table. This scene is seen indicative of the transformation of the hero into something that defies every idea that was placed parallel to him previously.

In Thoovanathumbikkal, Jayakrishnan’s confusion is portrayed through the scene where he stares into space after Clara absconds. We see a repetition of the same situation later when a telegram arrives announcing that Clara would soon be visiting. We see Jayakrishnan standing in the rain, holding the telegram and staring into space as the haunting background music of the film plays (Fig.4). Though he is then involved with Radha, he makes it evident to her that he himself is unsure of what he would do when it comes to Clara. This confusion arises from the need to follow one’s heart. Jayakrishnan portrays the kind of people who would want to balance both. But, to hold such a worldview would result in controversy, knowing the kind of background that Jayakrishnan has and the society to which he belongs.

And this forms as the reason as to why Jayakrishnan remains strewn between both women.

This is portrayed in the scene where Radha and him are seated in a coffee shop, drinking coffee while he informs Radha of Clara’s arrival. Though other women have come and gone in Jayakrishnan’s life, there have been none like Clara before, according to what Jayakrishnan says. His confusion as to what to do with Clara, despite being involved with Radha, is one of the key aspects of this film and the most important factor that suggests a tone of duality within the film. His uncertainty as to how to go about this is evidently shown in the scene where Clara tells him that Radha should not know that she had come and gone. She also tells him that the day he gets married to Radha, Clara will eventually disappear from his life. But

Jayakrishnan tells her to not part by saying that they would never meet again, as he still wants Nandakumar 74

to leave a hint of hope, the possibility of them meeting again. Jayakrishnan’s confusion is apparent.

Jayakrishnan’s confusion which in turn forms into angst sprouts from his need to maintain a balance between what is normally expected from a respectable figure in society.

Therefore, what Padmarajan portrays for us is how honour, pride and expectations may have played a huge role in the moulding of a man of his time. In the cultural and social framework of Kerala, some classes of people follow certain codes. It is not that these codes aren’t allowed to be broken.But, in the event of such an occurence, the consequences are loss of pride, bringing disgrace to the family and so on. If Jayakrishnan had chosen otherwise and convinced Clara to marry him, he would have created such scenarios for himself. Though a lot of these ideas are still associated to our understanding of moral conducct, the social set-up of

Kerala is changing to a freer, less rigid zone where people are allowed to be the way they want to be. Radha is not confused and so isn’t Clara. But Radha faces a lot of distress at the thought of Jayakrishnan maintaining contact with Clara. At the mention of him breaking his promise to Radha, she reveals that she may not continue their relationship. Radha is headstrong but she also adapts to the confusion that Jayakrishnan faces.

Fig.4: Jayakrishnan receiving Clara’s telegram. Thoovanathumbikkal. Youtube. 2015. Nandakumar 75

Jayakrishnan’s confusion is an epitome of the time in which he desires for both the women. He stands for what is socially not accepted and what becomes the practical choice for someone from the kind of social background to which he belongs.

In Deshadanakilli Karayarilla, Nimmy and Sally’s confusion may not seem apparent.

They seem like girls who are determined to achieve what they want. But, Sally is strewn between doing the right thing and choosing what Nimmy wants to do. Sally on the other hand, is absolutely certain of how things must be conducted. She creates the plans and Nimmy joins in executing them. Overall, what we notice is that Nimmy is caught up in a whirlwind of emotions towards the end of the film. At this point, Nimmy and Sally commit suicide to relieve themselves from their lives, to not face any more consequences. The feeling of dread that Nimmy feels is what drives Sally to not leave her at the end of the film. She returns to

Nimmy and they both commit suicide. Their suicide is Sally’s final act of rebellion, whereas for Nimmy, it is freedom from feeling unloved anymore. Nimmy and Sally’s confusion is largely defined by their need to be authentic. Within this authenticity, or the need to be authentic, we can trace patterns of rebellion. Nimmy and Sally define for us the epitome of what most women may not usually do, at the given age and the given time. Though this can be identified as carefree, childishness as a result of which this pans out, Sally and Nimmy’s attitude is a representation of the very popular idea of 1980s rebellion. Though this era’s beginning finds its roots before the 1980s, in Kerala, the 1980s saw a larger scope for an atmosphere that was conducive towards a freer world. The society of Kerala never truly changed. But the 1980s saw a reawakening. In terms of a cultural and moral liberation, the

1980s saw more people opening up to ideas that were not accepted before. This reflected in the multiple spheres of the state’s functioning and the people belonging to it.

This chapter on Internal Duality shows how there is a reservoir of natures that are present within an individual’s mind. But more precisely, this chapter focuses on how these multiple Nandakumar 76

natures present within an individual affects the individual’s existence on the whole. What can be concluded from the analysis based on the three large points that have been derived is that there is a duality that exists on the external level, which speaks into the internal. There is an internal duality as it is, but this duality is complimented by the external duality. And the internal duality also speaks to the various external factors. This makes both these dual natures dependent on each other. But the larger understanding that has erupted out of this chapter is how there is a definite structure that has been understood about the mentality and the mind of a man. Man and his natures are affected by multiple stimuli. The social, political and the cultural set up are some of the few areas that influence a man.

What is seen in these three films are the multiple facets to the existence of man of a particular time. Man, since then has progressed in many ways and degressed in many other ways. Therefore, this chapter sees how the man of 1980s functioned. This functionality of the humankind is represented through the various expectations, desires and qualities that are associated with him. Today, when we look back onto these films, it is safe to claim that a man from the 1980s could be like Jayakrishnan or Viswanathan. Or that a woman of the said time period may have been like Nimmy or Sally or they aspired to be like one of them. Padmarajan is popularly identified with the idea of how he breaks stereotypes with the female characters that he creates. These female characters eventually succumb to the pressure of society, or they make choices that resonate with the popular opinion or what would most likely be appreciated in a cultural, societal set up.What can be concluded from this chapter is that, the various external sources have shaped humans to become a certain way on an internal level. These internal factors make man the way he is. These factors are linked to certain elements from the

1980s making it a depiction of the same.

Nandakumar 77

Works Cited

Aparan. Dir. P.Padmarajan. Perf. Jayaram, Shobana, Madhu, Mukesh. Thomson

Film,1988.DVD.

Baggini, Julian. "Jean-Paul Sartre: Existentialism and Humanism (1947)." Philosophy: Key

Texts(2002):115-33.Web.

Crowell, Steven. "Existentialism." Stanford Encyclopedia of Philosophy. Stanford University,

23 Aug. 2004. Web. 15 Mar. 2017.

Deshadanakilli Karayaarila. Dir. P. Padmarajan. Perf. Shari, Karthika, Urvashi, Mohanlal.

Dinny Films, 1986. DVD. Deshadankilli Karayaarila.

Fig 1. Screenshot taken from from Aparan. Web.

Fig 2. Screenshot taken from from Aparan. Web

Fig 3. Screenshot taken from Deshadanakilli Karayarilla. Web.

Fig 4. Screenshot taken from Thoovanthumbikkal. Youtube, 2016.

Guyer, Paul. “Feeling and Freedom: Kant on Aesthetics and Morality.” The Journal of

Aesthetics and Art Criticism, vol. 48, no. 2, 1990, pp. 137–146. JSTOR.

Menon, A. Sreedhara. A survey of Kerala history. D C Books, 2007.

Thoovanathumbikal. Dir. P. Padmarajan. Perf. Mohanlal, Sumalatha, Parvathy. Gandhimathi

Films, n.d. DVD. Thoovanathumbikal. Sitara Pictures. Web.

Sartre, Jean-Paul. Being and Nothingness. Abingdon: Routledge, 2007. Print.

White, Lewis Beck. A Commentary on Kant's Critique of Practical Reason. University of

Chicago Press, 1960.

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