Let’s Get Real For A Minute – Malayalam Films Are Slightly Overrated

Before people come at me, I’d just like to set the record by saying that Adoor Gopalkrishnan is one of my absolute favorite Indian filmmakers. Mathilukal is a cinematic tour de force.

But come on, let’s get real for a second, the reasons why North Indians, especially North Indian progressive leftists, praise Malayalam cinema to the skies is due to the following dubious reasons:

1) Liberals, no matter the country, have a tendency to root for the underdog (which is commendable). In this case the underdog is Malayalam cinema because, when it comes to scale, infrastructure and distribution power, it dwarfs in comparison to neighboring Kollywood, Tollywood and the colossus that is Bollywood.

To view Malayalam cinema from a biased lens, a lens stained with sociopolitical affiliation and a perverse form of pity, is a cinematic crime.

2) Kerala, as a state, is much more liberal on social issues than India Proper (I’m barring the Northeastern states here). It is more gender egalitarian in that women have much more agency and are generally provided the same opportunities as men when it comes to education and job prospects. Also, there have been a few cases if any of female infanticide in the southern state. The same cannot sadly be said of North India.

I am in no way inferring that Malayalam cinema doesn’t have cinematic gems under its belt. It absolutely, without question, does. Gopalkrishnan aside, Fahadh Faasil’s body of work for example, is exceptional. I’d even go out on a limb to say that he is, in my opinion at least, one of the greatest living thespians in India today. The same goes for the Tall Glass of Chocolate Milk that is Dulquer Salmaan who can out act most of his Bollywood A-lister peers.

Then there’s his father, Mamootty who is completely deserved of his iconic status.

But like any film industry, Malayalam cinema has also churned out more than its fair share of duds. I know because I’ve walked out of a lot of them. For every Bangalore Days, there’s a Darvinte Parinamam.

But to view Malayalam cinema from a biased lens, a lens stained with sociopolitical affiliation and a perverse form of pity, is a cinematic crime.

It does a huge disservice to the incredible Malayalam films that are out there. We can’t lump Jallikattu and Varane Avashyamund together or Charlie with Oru Yamandan Premakadha. They’re worlds apart in terms of quality storytelling, technical finesse and most importantly, directorial vision.

If you’re reading this, Anupama Chopra, please stop. I know you have good intentions but, for the love of cinema, STOP.