One of the finest films that holds pride of place in Kerala’s cinematic universe has re-released in the UAE. The poetic and brilliant Manichitrathazhu, one of Indian cinema’s best psychological thrillers, written by Madhu Muttam, directed by Fazil, starring Mohanlal, Shobana and Suresh Gopi, which debuted in 1993, has now re-released with enhanced Dolby sound in cinemas. Bagging the Indian National Film Award for Best Popular Film Providing Wholesome Entertainment, the film also fetched Shobana the Indian National Film Award for Best Actress. It was remade in four languages — Tamil, Kannada, Bengali and in Hindi (Bhool Bhulaiya). Directors Sibi Malayil, Priyadarshan and Siddique-Lal served as second unit directors on the film.
The re-released version is clearer, technically nuanced and commemorates a group of actors and technicians who have passed away in the last 30 years. This includes Thilakan, Nedumudi Venu, Innocent, Kutiravattam Pappu, and KPAC Lalitha to name a few.
The film hasn’t aged at all. Termed as a cult classic, it is alarmingly relevant in today’s day and age.
Straddling two worlds — the realm of rituals and beliefs and the realm of scientific thought and psychiatry, the film is carefully written to give each space its own respect, spotlight and credibility. Neither world mocks the other and each is given its due, ever so subtly. No wonder it took over two years to be drafted.
Origin story
A forbidden room in a huge mansion in Kerala is bolted with an ornate lock since it is said to be haunted by the ghost of a Thanjavur danseuse, Nagavalli. According to legend, the mansion’s then owner, Karanavar Sankaran Thambi kidnapped and imprisoned her for his pleasure. Nagavalli detested her captor and was in love with a fellow dancer who lived next door. The cruel Karanvar got a whiff of the romance and killed them. He died mysteriously a few days later and the village was plagued by her ghost, until holy men exorcised and imprisoned her in the room of the mansion. A hundred years later, a young and curious bride called Ganga, played by Shobana, eager to explore her new home, breaks into the room and strange things start happening. She inadvertently (or so we infer), releases the spirit of the trapped ghost and the chamber comes alive with song and dance. Anyone investigating these happenings is attacked. As though evil has been unleashed, there is strife and suspicion in the family with one member ostracised and termed mentally ill.
Then enters the affable and eccentric psychiatrist Dr Sunny, played by Mohanlal. His entry isn’t taken well by the spirit and what follows is a maze of mind games, misunderstandings, ruses, death traps and finally the unravelling of the mystery. Suresh Gopi plays Nakulan, Sunny’s friend and doting husband to Ganga who is ready to go all-out to save his wife.
Some of the oft repeated dialogues of the film are in the haunting voice of Nagavalli, who speaks in Tamil (the language of the danseuse) while the entire film is in Malayalam. According to the director, he used the shift of language to depict the split personality of the character, adding to the horror element. Another nuance to notice is in the song. While investigating the case, Sunny purposely sings a song called Pazham Tamil Pattu, which tells the tragic story of the house to observe Ganga’s reaction to it. Its tune is hauntingly similar to the song her character as a possessed/split personality of Nagavalli sings in the night — the well celebrated Oru Murai Vanthu Parthaya. So the song isn’t just there for the protagonist to sing. It is used by him to check how Ganga, aka Nagavalli, reacts to a song in the same raaga.
Combination prescription
The beauty of the film is when an age old ritual and modern day science come together to cure the problem that could be termed as possession or split personality disorder. This is seen in the character of Thilakan, who plays the head priest Brahmaduttan Namboodiripad who certifies and acknowledges Sunny’s expertise.
One of the most poignant scenes from the film is the dance of Nagavalli where she is exposed — it is scary, piteous, helpless, haunting and powerful at the same time. With her kajal streaming across her face, her maang tikka in disarray, her anklets and her clothes dishevelled, Shobana has a near maniac expression. Her voluminous eyes pierce your soul and it is a cinematic sight etched in memory. The Bharatanatyam dancer completely embraces and enshrines Nagavalli.
The brilliance of an epic film, watched several times, is the audience watching it with ‘studied ignorance’, despite knowing the twists, turns and suspense that are on the way. Manichitrathazhu puts you on a time warp, surpasses all expectations and unlocks a sense of marvel, yet again.