It is the Women’s Day weekend. So there’s going to be some cheering and lauding all around and things are going to turn ‘pink’ for a while (mostly because they have to, not because they want to, but that’s a different story). In our Women’s Week special series, we thought what better place to start than at the start, i.e. the entrance. Much has been written about the entry of heroes; entire theatres have imploded with testosterone at some of their much talked about, albeit cliched entries. Here, we look at the many varied and beautifully captured entries of some of the heroines in Malayalam cinema. Don’t forget to add to the list!
Unnimaya (AaramThampuran): As Jagannathan slams open the temple doors, he is transfixed at the sight of a vision in red sari, with long tresses and a beauteous face. She slowly makes her way to him, raising her brow questioningly. Unnimaya breaks his reverie with a plain and simple—“Who are you?” And we immediately fall under her spell.
Nandini (Kilukkam): Nandini thampuratti’s dramatic entry is marked by the splash of her umbrella, the jingling of her silver anklets and that loud, clear squeal— “Hey, coolie.” In sharp contrast, the hero makes a very inconsequential entry—in tune with his character.
Ganga (Manichithrathazhu): The first glimpse we get of her is a silhouette at night, an inadvertent sign of the spooky times ahead. And then her stunningly expressive eyes. Yet none of this prepares us to what is in store.
Anuradha Mukherjee (The King): She arrives in a Maruti car, overflowing with clothes and cacophonous music, her mouth full of gum. Sub collector Anuradha Mukherjee is the epitome of the “modern woman” in dark glasses, glossy lipstick, trousers and fitted top. Of course, within minutes, Mr Joseph Alex saunters in and squashes her glam entry to pulp.
Latha (ChottaMumbai): She is first shown roughing it up with other women with empty water pots. Next scene she makes sure her rickshaw squelches muddy water on roadside Romeos. And finally, with her “coy” entry holding a tray laden with two empty glasses, the feisty Latha’s picture is complete.
Pooja (Ohm Shanthi Oshaana): That rarest of rare movies, which chronicles the heroine’s journey from birth till teenage. And even better, when the narrative briefly is taken over by a male voice, she quickly stops him with this –“Ithentha mega serial-o? Ithentey kadhayalley. Njan paranjolam.” But then, between you and me, the man makes an even more splashy entry! And this time, we really don’t mind.
Malar miss (Premam): It takes a minute to register when the lovely Malar miss steps into the frame. In a starched cotton sari, with a gentle smile, and her adorable Tamil, she quietly walks into the film and into our hearts.
Jimsy (Maheshinte Prathikaram): It’s the beauty of the frames that makes her entry so appealing—she hops through a narrow passage to her home, rummages through the kitchen for a snack, only to find it empty and angrily barks at her mom. We are looking at one of the most enchantingly unassuming heroines of our time.
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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,...