In Khalid Rahman Vulgar ,
There is a strong, eventful and often forgotten history of land struggles by tribal societies in Kerala. While often sidelines, these conflicts sometimes get their hands bloody (or are bleeding themselves) and a shock at the discretion of the mainstream society, becoming the subject of intellectual discussion for some time, after which they go into the shade again.
However, at one time, the Malayalam film industry focuses on these events, which is made with subtle heads inside a story or by making a complete film around such events.
Three movies, different views
While Ranjan Pramod Photographer (2006), KM Kamal Had (2022) and recently released Narivata Anuraj Manohar effectively performs only what events did themselves – that is, convert these issues into discourse for a while – by permanently imposing them in the film, although it ensures that some of the most exploited communities are not forgotten.
The three films mentioned above have been focused or implicated on the backdrop of the struggle of tribal communities in Kerala for autonomy on their land, and how the state responded.
In NaritaWhich is based on the true incidents around Muthga protests and later police firing and cruelty,The hero finds himself a complex part of the state machinery that is working by the tribals to protest a peaceful protest for the land that they were promised. In Photographer, Starring Mohanlal, Nayak faces a tribal boy, who is facing police violence in a forest area. It was also detailed based on the Muthga incident Narivata,
In HadThe manufacturers re-witnessed the works of ‘Iyankali Parish’-the Youth Organization of the Kerala Communist Party formed under the Maoist ideologies by former members of the Marxist-Leninist organization, which was dissolved in 1991. Had The four members of Aiyankali Pada showed how the ban on the transfer of Kerala and restoration of separate land) (KST) Act, 1975, in 1960, in 1960, for non-timeline lands for non-timeline lands for non-tranquil lands, how was the collector of Palakkad District District Mortgage in response to the ban for Non-Tribal Lands on all tribal lands. Their land back. But it was not implemented in the way it was imagined. In 1993, the Kerala High Court ordered the state government to implement the Act within six months, but that too became incomplete for continuous expansion with the state. And finally in 1996, the Left-Left government under a Nayar passed an amendment of tribal land transactions up to 1986.
Whereas Had Amendment, an immediate response to events Narivata Take place after years of unaffected promises about the question of tribal land. While it can be criticized that the film removed the headlines from the struggling tribal people and gave it to the hero (highlighting his ‘Savior Complex’), it manages to harass the enjoyable existence of the comfort class, a lot with him with Vatri Maran Vizanai And Viduthalai,
Lower life
Although it is commendable that filmmakers choose to portray such events and bring them back to public discourse, there is a line that separates the real representation from only equipment for character building. For audience, sympathy among the audience can easily be removed in re -establishing class politics. What Narivata Fails to do, the idea of ​​the need of a savior goes away from the idea of ​​the need to bring the dowtroden up.
It is necessary to note another police film here, which was a slow burner in Malayalam, describing the Muthga incident. Narivetta.Kuttavum Sikhyum But the lead actor played by Asif Ali is plagued by his past, an assembling that opens with the film, where he shoots a protector from an advance group in an forest area. While the film involves the incidents that the events are fictional, the protest can be compared to the Muthga incident. But what Kuttavam Sikh Shoshium Before entering the climax, a monologue wraps the whole struggle in a monologue, where the police officer explains how the shot was done, she has now disappeared, disappeared without any evidence and no one is responsible.
Subordinate, the character played by the Allencier, listens quietly, as the hero told how the protesters forced the then-young officer to shoot the stones, and how his purpose went to the chest of the guard instead of his feet, how the higher officials saved him from saving any serious action and he is still suffering from the act.
The Alencier then breaks the fourth wall and stares the audience for a second partition, perhaps to remind them of the murder, asking them how it was swept away under the rug. Near the end of the film, the hero is once again, with a gun in his hand, comes face to face with a person who can harm him. But the police officer does not shoot.
The struggle for property has been a part of human life because nomadic hunters gathered those who decided to settle and cultivate the land around them. And for tribal people, who are co-existence with the ‘modern’ society, this struggle is not only for stability, but for existence. And in cinema, these struggles have their own way of reminding the society.
Published – June 20, 2025 08:30 AM IST
