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Movie Review-Njan Marykkutty (MAL): Marykkutty Conquers Stereotypes Using Humanity
Njan Marykkuttyis the cinema not just the transgenders, but the whole society deserve, says Sriram
On Jun 20, 2018

 

 There are movies which points fingers and rightly so, at the masked society which the audience is an integral part of. Such movies pose questions, leaving the viewer almost responsible to provide answers. Ardhanaari was such a creation which took up the lives of people who are born as transgenders. Ranjith Sankar goes a step further and gives a heartful, revolutionary attempt in providing the answers that it is a matter of awareness and time, the same awareness the audience can empower with themselves by giving Njan Marykkuttya watch.

 Like any art form, the ground rules of cinema also constantly evolve. The pace of evolution especially in Malayalam cinema is as brisk as ever. In this age, Ranjith Sankar proves that sincere presentation and genuine emotions can forever work magic on the silver screen. He does much more than selecting a socially relevant issue, handling it sensitively, pointing out the agony and proclaiming his support. Njan Marykkutty takes the viewer for a journey with a woman born in the body of a man. The director thinks and lives in the world of Marykkutty and invites the audience in there. He becomes successful in taking the viewers into the head of Marykkutty, that of a woman in the struggle of her life, while they watch a male actor as established as Jayasurya. The movie takes on a mission of empowering its viewers with the knowledge that any human body that contains a personality is okay, that it is okay to live among those who are born in a body that doesn’t exactly fit to their personality, and most importantly it is the understanding and the helping hand a privileged person can provide, that can make this world a better place. By leaving the audience with Marykkutty for more than two hours, the movieshatters stereotypes and accomplishes its mission like a boss. The experience is powerful enough to leave a viewer smiling as he cries at the joy of Marykkutty. Although the movie gifts the viewer a number of heart touching moments through the journey, a sense of slowness usually associated with the climax of Ranjith Sankar movies, unintentionally melts away a part of the hard-built weight in the viewer’s heart.

Jayasurya is Marykkutty who was also known as Mathukkutty. The actor gives his everything to hold the statement real, and the result is mesmerising. Marykkutty is not an attempt to portray a typical transgender, nor it is the portrayal of a man who behaves like a woman like Malayalam cinema has witnessed over the years. In this Ranjith Sankar spectacle, the spirit of Marykkutty is that of a full-fledged, proud woman. That’s exactly what the brilliant actor imbibes perfectly and executes beautifully. Yet, its not the stereotypes associated with the behavioural patterns or innate qualities associated with being a woman that defines the character as one. It’s the ignorable nuances, subtle thought processes effectively transmitted to the audience, and moreover strength of character that constitute Marykkutty.

The rest of the cast including Innocent, Shobha mohan and Shivaji Guruvayoor comes up with good performances. But the other star of the show is Joju George, personifying hatred and chauvinism.

 Music by Anand Madhusoodanan serves it purpose very well. Songs rendered by Sithara Krishnakumar are soulful and plays a major role in taking Marykkutty closer to the audience.

NjanMarykutty is not just Ranjith Sankar’s proclamation of support for those born as transgenders. The movie shows the audience the glimpses of a better world of where humanity conquers stereotypes, where someone born in a body that doesn’t exactly match his/her spirit rises above the odds. Almost the first of its kind in Malayalam cinema, the movie is literally a must watch. It is powerful enough to educate and enlighten the society. It is the cinema not just the transgenders, but the whole society deserve.

 

 
 
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