By Theresa Jose 

Abstract
This paper explores the evolution of the portrayal of women in Malayalam cinema. In the past, there have been a lot of movies that had problematic representations of women as submissive and domesticated who were just present to support the heroes. Films like Njangal Santhushtaranu, Vesham, Kochu Kochu Santhoshangal, and Veruthe Oru Bharya, glorify the stereotypical traditional women whose role is to take care of the family and if they don’t follow this then they are pinned as uncaring mothers or wives. However, post-2010 there has been a shift in the portrayal of women from traditional stereotypes to more independent characters which was shown through movies like Godha, Bangalore Days, The Great Indian Kitchen, and Sara’s where they challenged these stereotypes.  These movies gave a stronger portrayal of women who can stand up for themselves, and make their own choices without feeling pressured to follow the gender norms that had been set by the patriarchal society. 

Introduction 

Malayalam cinema has a unique way of telling stories observed from the various themes narrated from the creation of Malayalam films to the present day—however, the portrayal of women as damsels in distress, subservient women or nurturing homemakers, in Malayalam films has been seen for a long time. However, in recent times it has been observed that films have started portraying women differently, with them being more opinionated, not shown as submissive and leading a life dictated by the men, their stories are getting more importance in the films and are not just reduced to a supportive character to the male lead but more fleshed out characters are being given to women. Still, misogyny and sexism exist and are normalised in the movies even if changes are happening in the way women are portrayed. We live in a society where physical abuse from men is seen as a sign of love and this behaviour is still glorified in the films. The sad reality is that society is unaware of these problematic depictions and the films depicting the same reinforce the whole behaviour to an extreme level especially if it is done by some of the very influential actors, which points out the need for the film creators to understand the importance of what they create because it has a big influence on the behaviour of the society. The film creators must use this power in the most effective way through which this problematic behaviour can be shown realistically and not glorified which could help in changing society. This also underscores the need for a better portrayal of women in Malayalam films so that society does not have limited expectations of their capabilities and that they are not forced to behave or act in a certain way that is acceptable to society.

Harmful Gender stereotypes in Malayalam films  

While growing up, the movies I watched that portrayed women as strong-willed or brave were shown as morally flawed rebels or someone who still hadn’t found the right man to guide them into the stereotypical women the men want, there was no strong representation of women in Malayalam movies in earlier times. Young boys often looked up to the male characters created in movies who were well-developed, driven to achieve their dreams and sought personal growth. Meanwhile, the female characters were frequently depicted as someone who supported the male lead, guided him or fulfilled traditional roles like being a good mother or an ideal wife. Some of the movies which depicted women in a poor light include the movie “Njangal Santhushtaranu” (1999) which showed us a modern female lead who had her dreams and interests but because she was not the ideal wife the male lead pictured, he started mentally harassing her to change her completely to the way he wants and the people around them want to see her as. Even her family justifies this behaviour of the husband and in the end, she is seen as a changed woman. This movie portrayed a strong woman with her own opinions as a rebel who needs to be fixed by a man, while her behaviour was criticised, his actions were justified by the other characters and also the audience for a long time. Vesham (2004), is a typical patriarchy-driven film that offers questionable advice on women’s roles post-marriage. In the beginning of the movie, the female lead is shown wearing modern attire but after marriage, she is expected to wear traditional clothes. Her sister-in-law tells her that a wife’s paradise should be under the husband’s feet and that their choices are ours too, which implies that she is supposed to be submissive and obedient. The problem lies not with wearing traditional attire per se but with the lack of choice given to women post-marriage and with the expectations that they have to conform to specific behaviours and dress codes to be seen as the ideal daughter-in-law of a family. These expectations are celebrated and followed in real life, if women deviate from this they are ostracized from society or face strong disapproval.  

Another common trope that is seen is the portrayal of women as sacrificial, they are willing to give up their dreams for the sake of their families. In Kochu Kochu Santhoshangal (2000), the husband leaves his wife with their son when she gets a chance to restart her dancing career. The narrative sympathises with the husband’s struggle to take care of their infant son, and the wife is portrayed as a selfish unreliable mother and wife for focusing on her career. The film reinforces the stereotypes around motherhood and shows that mothers will always have to choose between their careers and familial duties. Similarly, in Veruthe Oru Bharya (2008), Bindhu who has been treated like a servant in her own house wants to get separated from her husband Sugunan, but because they have a teenage daughter she is unable to take that decision. She is criticised by everyone for abandoning her family and putting her teenage daughter at risk of a rape attempt. However, it was evident that all this happened due to Sugunan but in the end, the mother is blamed for not taking care of her daughter while everyone conveniently forgets that she is also his daughter. This film also perpetuates that the mothers are to be blamed for whatever happens to their children. These rules were written and created by men themselves who saw women through a patriarchal lens so this kind of portrayal existed in Malayalam films for a long time. 

Challenging Gender norms in modern Malayalam films 

From the 1980s through the early 2000s stereotypical women who were dutiful, sacrificial, subservient, unambitious and domesticated were portrayed in many Mollywood films. Despite these trends, a shift has occurred in the portrayal of women in Malayalam films since the 2010s. One example is the movie Godha (2017) which tells the story of a girl who defies the traditional gender roles by pursuing a career in wrestling without getting any support from her family and is mocked by society for her unconventional career choice. However, the movie celebrates her strong will and determination to fulfil her passion even if she must run away from her home. This showcases a woman’s character who stood her ground and did not succumb to the societal and familial pressure of getting married which is seen as the end goal of every girl. Another significant example is the character of Kalpana in Bangalore Days (2014),  a mother who was denied simple pleasures during her marital life.  And, later, she got a chance to escape this monotonous life when her husband abandoned her. She took it as an opportunity to live a life she always dreamt of and not cry over her husband. She is a ground-breaking character who defies societal expectations of middle-aged women. Films rarely show these kinds of portrayals of women because most films show women confined to the four walls put together by men with a patriarchal mindset. 

One of the most discussed films of recent years is Jeo Baby’s The Great Indian Kitchen (2021). This film offers a portrayal of the harsh reality that women face in traditional households. The characters in this film are relatable to everyone, it shows the mundane tasks the female protagonist is doing every day within the four walls of the kitchen and how this repetitive routine affects her. The film challenges the romanticisation of the ideal wife and caring mother which is often seen in movies. The film also depicts marital rape which is an overlooked issue in society and the film showcases how women’s desires are disregarded within a patriarchal society. By showing the struggles and challenges faced by the female lead, the film critically looks into the gendered division of labour and stereotypical expectations the society has for women. Women’s choices are limited by societal pressure, especially after marriage. Some married women get pressured to bear children because the family and society think that it will complete a family, even if they are not ready to have children. Society has pinned down a married woman’s ultimate role to be a mother and look after their children.  It is seen as their primary and most important goal in life. In Sara’s (2021), the female lead faces immense pressure to have children when her goal is to pursue filmmaking. It was a revolutionary movie that talked about women’s rights over their bodies, the right to abortion and the need to normalise women’s ambitions. This film is different from the others because there have been many movies that glorify motherhood and reproductive functions but there are very limited movies that show women achieving their dreams. This portrayal is significant to many women in society who have been shamed and faced disapproval from society for not wanting children or choosing to achieve their dreams first. This film challenges the notion that every woman wants to have children and it normalizes the fact that some choose to remain childless. 

Conclusion 

The shift in the portrayal of women in Malayalam films from a damsel in distress to a strong independent character is a crucial step that challenges the norms of a patriarchal society. The strong influence cinema and society have on each other needs to be taken seriously as this could help in discussing more on the issues women face which are overlooked by society and this could help in inspiring women and challenging societal expectations. Even though changes are happening in the portrayal of women in Malayalam films there is still the influence of patriarchy which the industry needs to break free from so that more movies like The Great Indian Kitchen and Sara’s can be produced that feature strong female characters and help in creating an equitable and inclusive society. 

Author’s bio:

Theresa Jose is a public policy student at O.P. Jindal Global University, keen to explore gender-related issues. Hailing from Kerala, she is passionate about using her writing to raise awareness and advocate for social change. Theresa’s work aims to shed light on the challenges individuals face based on gender and sexuality, fostering a more inclusive and equitable society.

Image Source: Source: (Clockwise from the top) Njangal Santhushtaranu (1999), Kochu Kochu Santhoshangal (2000), Veruthe oru Bharya (2008), Godha (2017), The Great Indian Kitchen (2021), Sara’s (2021)