Films have very often triggered off protests. The reasons have been varied. They have been communal many a time, while there have also been political, cultural and social causes. Protest marches that often end in a spate of violence, burning of effigies, tearing posters of the film all keep happening. The demands are either for a total ban on the film or removal of the ‘objectionable’ part from it. In fact, such protests have happened across the world and will perhaps continue to happen.
Malayalam cinema witnessed its first controversy in 1958. People in Travancore protested against the title of the film Nairu Pidicha Pulivaal .
The film was produced by the late T. E. Vasudevan. It was based on a story by Uroob (P.C. Kuttikrishnan), who also wrote the script. The film has leading actors like Sathyan, Ragini, G.K. Pillai, Muthukulam Raghavan Pillai, T.S. Muthiah, S.P. Pillai, Bahadur, Pankajavally, Kochappan in important roles. The film was directed by P. Bhaskaran who also penned the lyrics. Music was by K. Raghavan.
Nairu Pidicha Pulivaal was a clever blend of comedy, emotion and drama. It told the story of the lives of circus artistes. Some characters did have names indicating their caste but the film was not about any particular caste or community. It focussed on the mental agony of people, of those living and working in a circus tent, which is a microcosm of the society.
Yet the film had to face strong protests. People found the title a deliberate insult to a community. And they demanded that the producer change it immediately. T.E.Vasudevan remained silent not bothering to respond. This provoked the protesters further. The protests were led by Kezhoot Raman Pillai.
Associated Pictures, owned by T.E. Vasudevan, controlled the distribution rights for the film in Travancore, while in Malabar the film was distributed by K&K Productions, owned by K.V. Koshy. With Vasudevan continuing to remain silent the protesters took to the streets. Changanassery, Kollam, and Trivandrum were witness to such processions and protest meetings. Apart from the demand to change the title the protesters insisted that Vasudevan clear the air by saying which Nair actually caught the tail of the leopard. But all this did not move Vasudevan. The protest spread to Kottayam also where posters were torn. The protesters openly declared that they would not allow the screening of the film if their demands were not met. To add fuel to the fire a poster of the film depicted an actor (Kochappan) latching on to the tail of a leopard. In fact, Kochappan, a lawyer based at Ernakulam, went on to be known as Pulivaal Kochappan after this film.
Vasudevan stood firm refusing to bow to the demands. Slowly, the protests frittered away. The film was screened in Travancore. But the protests did leave an impact on the collection. The film flopped at the box office in Travancore. But this was compensated by the film’s excellent show in Malabar.
Thus the first controversy that erupted in Malayalam cinema died a natural death only because of the sensible approach to the protests by the producer. Vasudevan proved that silence is golden and perhaps the best antidote to such ridiculous outbursts.
