40 years ago, Priyadarshan showed Malayalam cinema that Mohanlal was not to be confined to villain roles
In 1984, precisely 40 years ago, Priyadarshan, who turns 67 on Tuesday, donned the director's hat for the first time for the movie Poochakkoru Mookkuthi, starring Mohanlal as one of the central characters.
Priyadarshan movies have not aged well, and rightfully so. Many of them were blatantly casteist and/or lifted from other movies without giving due credit to the original works. At the same time, the massive success such movies enjoyed also mirrors the collective conscience of the people, especially the elite, of that era, of which the filmmaker is a part.
At the same time, the filmmaker also played a pivotal role in expanding the reach of Malayalam cinema nationwide through his comedies, significantly contributing to the remarkable rise of Malayalam actor Mohanlal’s career.
Though Priyadarshan, who turns 67 on Tuesday (January 30), began his career as an assistant director to V Ashok Kumar in the 1978 Malayalam film Thiranottam (which eventually hit the screens only in 2005 due to reported censorship issues) — a film that also marked the acting debut of his long-time collaborator Mohanlal — his directorial debut came six years later. In between, he contributed as a writer to several films including Kuyiline Thedi (1982), Bhookambam (1983), Nadi Muthal Nadi Vare (1983) and Engane Nee Marakkum (1983).
In 1984, precisely 40 years ago, Priyadarshan donned the director’s hat for the first time for the movie Poochakkoru Mookkuthi, starring Mohanlal as one of the central characters. In the Malayalam cinema scene of that era, wherein pioneers such as KG George, G Aravindan, Bharathan, P Padmarajan and Adoor Gopalakrishnan were making significant works and the MG Soman-Sukumaran-Ratheesh trio had emerged as the new superstars in the mainstream arena following actor
Jayan’s untimely demise, Poochakkoru Mookkuthi created ripples primarily because it was an out-and-out comedy film, contrasting with the prevailing cinematic trends.
In contrast to most films of its era that immediately focus on the male protagonist, Poochakkoru Mookkuthi centres on its female lead Revathi (Menaka) for quite some time, offering only occasional glimpses of one of its male leads, Shyam (Shankar), a street musician.
. At the same time, Revathi is not the usual damsel in distress; she has fled her home due to constant pressure from her family to marry her cousin, whom she has no romantic feelings for. Despite her lack of familiarity with the city, she reaches Thiruvananthapuram to find a new life. Nevertheless, the film’s treatment of other female characters is extremely appalling,
catering to the likes of the male audience. For instance, when Revathi Amma (Sukumari) moves to an urban area and adopts a modern lifestyle, she faces ridicule and bullying from her husband Ravunni Menon (Nedumudi Venu) and others. Similarly, Gopalakrishnan’s mother, Kalyani (Santhakumari), is treated casually by her husband Sankaran Kutty (Sankaradi), almost like a domestic worker.
As the film unfolds, more characters are introduced, each displaying varying degrees of foolishness or dubiousness. Among them is Mohanlal. For the actor, who had till then been predominantly doing villain and supporting characters, Poochakkoru Mookkuthi opened new doors as it showcased him in a fresh light — cute as a button and naturally adept at delivering comedic scenes with
physical agility and dialogue precision. Mohanlal’s intro scene here itself is particularly hilarious, as his character, Gopalakrishnan, is depicted bitching about his father to his friend Hari (MG Soman), a departure from the typical hero portrayal of that era.
Poochakkoru Mookkuthi weaves together the lives of its many characters seamlessly, with moments that grow funnier as the movie progresses and memorable one-liners. Priyadarshan also introduces here his signature narrative trope of impersonation,
which he has used for the longest time in various languages, as characters pretend to be someone else before others for personal gain. While Revathi pretends to be Ravunni Menon’s daughter to Gopalakrishnan, Shyam pretends to be poor in front of Revathi, as both men vie for her affection. Hari also adopts a false identity to marry a wealthy woman.
The film also includes a captivating dance number featuring Mohanlal and Sukumari, challenging age-related stereotypes among male and female actors and showcasing that Lal could easily win hearts with his dancing abilities too.
If you were amazed by the chaotic and hilarious climactic fight sequence in Priyadarshan’s Hungama (2003) and Vettam (2004), wherein almost all the characters in the movie enter the battlefield, then you need to know that he used it for the first time in his debut directorial itself.
With absolutely no room for emotional drama and featuring actors, including Jagathy Sreekumar, Kuthiravattam Pappu, Poojappura Ravi, Mala Aravindan and CI Paul, who proved their prowess in comedy, Poochakkoru Mookkuthi still manages to leave audiences in stitches, with the major draw being Mohanlal with a soft and non-villainous demeanour.
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