Haji arranges Zainaba's marriage with a rich jewellery shop owner. Haji takes Zainaba to his house where she faces tortures from her stepmother Khadeeja. The marriage did not take place as Haji interrupted. They decide to conduct the marriage of Zainaba with Hameed. When Haji learns of this affair, he tries to take his daughter with him, which is opposed by Ayisha and Ibrahim Kakka. Zainaba falls in love with her classmate Hameed. She sends her daughter Zainaba to school ignoring protests from the community. Haji divorces Ayisha, who seeks refuge in Ibrahim Kakka's house. Though this was against custom, nobody was dare to question him. Haji eventually develops a desire to marry Khadeeja. Ayisha gives birth to a daughter and a maid servant named Khadeeja is appointed to take care of the child. He marries Ibrahim Kakka's daughter Ayisha. His next aim is to get married again which according to traditions will be his last marriage. An illiterate rich landlord Aboobacker Haji married three times and divorced all the three wives. A few ‘behind the scenes’ were shown: how cinematographers worked with rather primitive equipment and achieved technical brilliance, and vignettes about how certain movies got to be made: the struggles and privations.Polygamy is the theme of the film. I have with me a documentary called “Cinemayude Kaalpaadukal” containing interviews with many prominent Malayalam film-pernonalities from the 60s/70s: Vincent (love his Bhargavi Nilayam), singer Jayachandran, and music director Raghavan (kaayalarigathil valayerinjappol) to name a few. Once case in point being that 80s classic, Yavanika. I used to see many of the old movies on VHS cassettes from people returning from the Gulf during the 80s/90s: Odayilninnu, Neelakuyil (not my favourite, sorry!), Kuttiyedathy, Vilakku vangiya veena, kuttikuppayam, Anubhavangal Palicchakal… Of late many of these oldies are appearing again, on VCD, and some of the prints are, as you right described it, “crappy”. – faintly recall this to be a black and white (or early color) movie – cannot remember any actors or actresses – the main setting (I believe) is a muslim family setting – nobody listens to her feelings, so on the day of 2nd wedding (with old lover), heroine commits suicide (possibly scene at top of Athirapply waterfalls) – however, wife is now heart broken as she is devoted to husband since marriage, and dont want to break the relationship and go back to the old lover – husband contacts old lover, and arranges marriage of (now divorced) wife with old lover – husband still thinks she harbors affections for old lover, so he works on re-uniting old lover and wife, divorces wife so she can remarry wife discloses old love, but makes clear that she is faithful and has had no further relation with old lover after marriage – later husband happens to the hero (old lover) sing same song, he is now suspicious of his wife and confronts her about how she knows the same song. – heroine is now a devoted wife, and sings same song for her husband – however, heroine is forced to marry another man – hero sings one song when they were in love I’m trying to locate the name of an old malayalam movie (possibly 60s or 70s) with the following theme, please suggest movie name if anyone can identify:Ī few things I can remember (may not be be exactly as described, but pretty close) about the theme:
Truly, I would say, along with the sheer range in the themes, subjects and debuts, the golden age of Malayalam Cinema shined bright in this decade. Adoor Bhasi sang for the movies for the first time in Aadyakirangal (1964), directed by P Bhaskaran based on Parappurath‘s novel. This decade also gave Malayalam Cinema another phenomenal Director, PN Menon, as he debuted with Rosy(1965), with PJ Antony as the lead, and Prem Nazir in a supporting role! Bhagyajathakam (1962) gave us one of the finest female leads of Malayalam Cinema, the evergreen Sheela. Nithya kanyaka (1963) became the 100th film production in Malayalam and Alummoodan debuted in Ezhu Rathrikal (1968). RK Shekhar came to his own, with his first independent music composed for Pazhassi Raja (1964), with the brilliant Kottarakkara Sreedharan Nair essaying the lead character, Pazhassi Raja ! (Yes, Mammootty wasn’t the first, you see). Black & White blossomed into pure art in the hands of one of the best cinematographers of India, A Vincent, who turned Director with Bhargavee Nilayam (1964). One of the most glorious decades of Malayalam Cinema.
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