The human predicament was on the coronary heart of MT Vasudevan’s writing. He gently identified to human foibles and the way fragile relationships are within the face of patriarchal values and custom. You see loads of that in Nirmalyam and Neelathamara. You see his biting criticism of the exodus of poor Malayalees to the Gulf, the then promised land in Vilkaanund Swapnangal.
The MT I found was by means of the flicks most sarcastically in IV Sasi movies like Alkootatil Thaniye, Aksharangal and Aroodam. He was by no means didactic. He shone a lightweight upon our frailties that form us and break us in turns. If Balan Okay Nair is a flawed patriarch in Alkootathil who selfishly thought for the very best for his son, Mammootty was the flawed literary character who might by no means be slowed down by marriage in Aksharangal. In all these movies Seema performed the opposite lady written with the finesse and nuance that solely MT might have imagined. Similar for Vadakan Veera Gatha. He reimagined the story from the fallen hero’s Chanthu’s standpoint and corrects a number of fallacies in regards to the fallen hero.
A author imagines and creates a world for us to inhabit. He helps us to establish his characters and creates a world by means of his empathy. We discover a little bit of ourselves in each character that he wrote. Of their energy lies our energy, of their weak spot lies ours. One in all his most brutal works is Sadayam. The ultimate scene is particularly chilling. Demise is usually the one hope he has to supply. MT Vasudevan Nair by no means held out false hope. He drew a world for you which of them was unremitting and generally even unsparing. Within the poetry of his phrases, his gaze was unflinching. He might have moved on gently to a different world however his phrases will proceed to remind us that the brutal and the gorgeous are two sides of the identical coin.
Go gently into the evening sir.
See Additionally: Malayalam writer, filmmaker MT Vasudevan Nair passes away
