Film director Kamal has come under fire for his comments against police action in theatres where some IFFK delegates refused to stand up for the national anthem. Actor Vidya Balan backing out of his next film has only added fuel to the fire. No matter which side of the controversy you stand on, Kamal’s films in the 80s and 90s are an inextricable part of many of our childhoods. He brought the right amount of love, innocence, heartbreak, and whimsy. Here’s a look at five of his films that made our childhoods.
Unnikaley Oru Kadha Parayam(1987): Aby Abraham was the 80s’ Charlie, minus the designer kurtas and flimflam—the proverbial do-gooder with his grizzly beard, quaint hat, and oversized coat. He was a hero—the knight in shining armour who picked up poor, orphaned kids from the streets and made them his family. He and his troupe of kids who were constantly in transit, putting up their bag of magical tricks to earn for a living, is probably one of the best cinematic images of our childhood. From Ousepachan’s soulful melodies, Thilakan’s friendly priest to Mohanlal’s adorableness, this Kamal film was just pure gold.
Kakothikaviley Appooppan Thadikal(1987): The gypsy girl and the boy who had nowhere to go—it pulled at our heartstrings. She with her paan-stained teeth and scruffy unwashed hair, the badass one who teased the boy’s school teacher with her wicked antics. But for us she was just Vavachi, the one who was kidnapped by a scary vagabond. And all we ever wanted in the end was to witness the reunion of two sisters. What a heart-warming story!
PeruvannapuratheyVisheshangal (1989):A grouchy old matriarch, a tharavadu that is steeped in archaic traditions, uncouth uneducated brothers who spend their days unproductively, and the spoilt beautiful granddaughter. In comes a lanky young man and he picks up a fight with the lady. And the story turns around. The naïve fun villagers, the studio guy who is eyeing the tea-shop owner’s daughter, the college Romeo, the karyasthan—what fun! But of course, we cheer the maximum when towards the climax, a black Mercedes drives in and out comes one of Malayalam cinema’s most clichéd cinematic representation—the “adichuthalikari’s son”.
ThoovalSparsham (1990): Three men—one an incorrigible womaniser, the other the brooding kind, and the third engaged to be married. They make the most out of their life in a suburban flat—long drinking sessions, telling each other outrageous tales of conquests and constantly finding ways to woo girls. One fine day, the stork pays them a visit and all hell breaks loose. At first clueless and harassed, they soon fall madly in love with the little angel. So, did we. And Kingini’s baby sitter was a riot as well.
PookalamVaravayi (1991): Geethuistheadorable little girl who seems to be unaware of the storm she is in the middle of. She is the girl who hates her stern tuition teacher, who doesn’t eat unless she has her favourite doll for company, and who finds her “family” in a small village on the banks of a river. She is our superstar!
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Fullpicture is an exclusive, comprehensive, online English magazine on Malayalam cinema, put together by a team of experienced journalists who share a passion for everything about Malayalam cinema. The idea is to put out well-written and well-researched features, exclusive interviews,...