Malayalam cinema certainly owes a lot to P.N. Menon. The filmmaker who heralded a new wave in Malayalam cinema with his bold films, Menon’s most significant contribution was liberating it from the clutches of drama.
It was he who decided to take the bold step of shooting outdoors rather than sticking to the limitations of a studio floor. Perhaps the history of Malayalam cinema could be classified as the era before P.N. Menon and that after him.
Menon made his debut as director with the 1965 film Rosie . This year marks the golden jubilee of this film, the freedom of moving outdoors and of this brilliant film maker.
Early Malayalam films were confined to the four walls of a studio. Directors did not have the freedom to venture outdoors, even if they wanted to. So in these films locations and buildings kept reappearing. Before Rosie most films had the ‘drama effect.’ It was usual to see characters enter the scene from one corner and on most occasions return through the same exit. Menon changed all that.
Born in Vadakkancherry in 1928, Menon boarded a train to Madras immediately after completing his studies at the Trichur School of Art. Cinema was his dream and in Madras he began learning at the School of Arts. His search for opportunities in the world of cinema landed him an assistant’s job in a production house, Mathagatha Pictures, owned by T. S. Dwararaj, who was a popular Tamil actor known for his comic roles.
Dwararaj was impressed by Menon’s honesty and dedication and allowed him a lot of freedom in his production unit. Menon made full use of this by learning more about camera, editing, and make up. He also found time to read books on cinema and watch films in various languages. All this was creating within him a new perspective about cinema.
The most important aspect that he learned was that cinema was and should be a true reflection of life and that Nature had an equally vital role in cinema. Menon also realised that Bengali and Hindi films had moved from the studios to real locations. These films, Menon felt, were much closer to perfection.
With a mind full of new thoughts and ideas Menon went to Salem and joined Modern Studio as assistant director. But this was not for long. The studio closed down and Menon returned to Madras. But again that time enabled him to understand more about film making, about modern equipment, the use of light etc.
Back in Madras, Menon became busy as an artist, especially promotional posters. He was gradually being noted as an art director. His work caught the eye of B. Nagi Reddy, a leading film producer and studio owner. He offered Menon a job in the art section of his Vauhini Studio.
Menon worked in films and also designed sets for leading drama troupes. He also kept his passion for films burning, watching as many films as he could. His poster designs became a hit in South Indian, Bollywood, and other Indian language films. He made his debut as art director in Ninamaninja Kalpadukal .
The turning point in Menon’s career was when producer Mani Swami asked him if he could direct his forthcoming film, Rosie . This was what Menon had waited for.
Discussions for the new project began in a rented house in Madras. The film was based on a story by P.J. Antony, who also wrote the screenplay. Discussions, casting and screenplay complete, the crew left for Chalakudy, which was to be the main location.
Prem Nazir, Kaviyoor Ponnamma, Thikkurissi Sukumaran Nair and P.J. Antony played the main roles. E. N. Balakrishnan cranked the camera, lyrics were by P. Bhaskaran and K.V. Job was the music director. It had some memorable songs of which Alliyambal kadavilannu … stood out. In fact, Rosie is remembered today more for this song than anything else.
The film did not do well at the box office. However, it opened the doors to a new world in Malayalam cinema. The film convinced filmmakers about the need to move out from studios. Filmmakers were now ready for a rethink on their art.
Menon underlined this belief with his next film, Olavum Theeravum . Produced by P.A. Backer, it had M.T. Vasudevan Nair’s story and script. Olavum Theeravum broke traditions and flagged off the new wave moment in Malayalam cinema. Menon’s later creations like Kuttiyedathi , Mappusakshi , Chembarathi , and Gayathri were all reconfirmation of his principles.
Olavum Theeravum won the Kerala State Film Award for Best Film in 1970, while Chembarathi won the same award in 1972. Menon’s films Gayathri and Malamukillile Daivam won National and State honours.
After a rather long break Menon returned with the film Padippura (1988). Nerkku Nere (2004) was his swan song. Menon was honoured by the State government with the J. C. Daniel Award in 2001.
The visionary who led Malayalam cinema on a radically new track passed away on September 9, 2008.
