| Naalu Pennungal | |
|---|---|
 A Scene from the segment -Nithyakanyaka from the movie | |
| Directed by | Adoor Gopalakrishnan |
| Written by | Thakazhi Sivasankara Pillai Adoor Gopalakrishnan |
| Produced by | Adoor Gopalakrishnan Benzy Martin |
| Starring | Padmapriya Nandita Das Kavya Madhavan Geetu Mohandas Manju Pillai |
| Cinematography | M. J. Radhakrishnan |
| Edited by | B. Ajithkumar |
| Music by | Isaac Thomas Kottukapally |
| Distributed by | Emil & Eric Digital Films Pvt.Ltd. |
Release date |
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Running time | 105 minutes |
| Country | India |
| Language | Malayalam |
Naalu Pennungal (Four Women) is a 2007Malayalam languageanthology film produced and directed byAdoor Gopalakrishnan based on four short stories written byThakazhi Sivasankara Pillai. The film starsPadmapriya,Geethu Mohandas,Manju Pillai andNandita Das in the major roles andKPAC Lalitha,Mukesh,Manoj K. Jayan,Kavya Madhavan,Sreejith Ravi,Nandhu,Remya Nabeeshan, andM. R. Gopakumar in supporting roles.[1]
The movie chronicles a journey of womanhood across assorted backdrops with a classic amalgamation of source matters and techniques that splendidly spans times and frames. The movie has four distinct parts, each adapted from separate short stories byThakazhi Sivasankara Pillai. The parts narrate the stories of women from different strata of the society. Though the stories are not explicitly connected in narration, a pattern emerges in the flow of the movie, both in the chronological setting and the stature of the women.
For the film, Adoor Gopalakrishnan wonBest Director andB. Ajithkumar forBest Editor at55th National Film Awards.[2]
Naalu Pennungal is the story of four women fromKuttanad inAlappuzha district inKerala. The stories are set in the years between the 1940s to the 1960s.
The first profile is the story of astreet prostitute Kunjipennu and Pappukutty who decide to start a life as husband and wife. They have bound themselves in matrimony that does not have any legal sanction. When the law catches up with them, they do not have anything as evidence of their commitment to each other. The story ends in the court scene where the helpless couple is punished for the crime of prostitution.
Kumari - literally, a virgin girl- is afarm worker who shouldered the responsibility of running her household at a very early age. Her father, having realized her advancing age, accepts a suitable marriage proposal for her. After the wedding, her husband, Narayanan, behaves strangely, as he evades any kind of contact with her, including verbal conversation and sexual activity. The husband's mysterious behaviour is accentuated by his glut. After a few days, the couple makes the customary visit to Kumari's house. Narayanan leaves Kumari in her house after the visit and never returns to bring her back. As days pass, rumours spread that she has been abandoned by him because of her infidelity. Her father, unable to bear the shame of it, picks up a fight with the neighbour who had brought the marriage proposal. Kumari, who had maintained silence so far, emerges from the house and declares that the marriage never happened.
Chinnu Amma is a childless housewife. She lives a fairly contented life with her loving husband. Her husband works in a nearby town and she spends her time alone at home. One day, she is visited by Nara Pillai, a former classmate. Nara Pillai had run away toTamil Nadu, long ago and now visits his village rarely. He is said to have made good in Tamil Nadu and speaks Malayalam with a heavy Tamil accent even when he is back in Kerala. Through their conversations, we realize that they both had an amorous encounter in their youth, from which Chinnu Amma escaped narrowly due to her fear of getting pregnant out of wedlock. Nara Pillai assumes that she is vulnerable and attempts to talk her into bed, promising her a healthy offspring. Chinnu Amma's mind vacillates, but at the end of the movie, she boldly declines the offer.
The last one is about an upper-middle-class girl named Kamakshi. She has a quiet life in a family composed of her widowed mother, an elder brother, and two sisters. The story begins with a marriage proposal for her, which fails as the groom prefers her younger sister. She silently witnesses the wedding. As the years pass, her elder brother also gets married. As she walks towards middle age, her youngest sister also gets married. Once the mother passes away, she is forced to move in with her younger sister's family. Things seem to go well initially, with her getting close to her nieces. Her sister's husband apologizes to her, for being the reason for her failed marriage proposal. However, problems surface as her sister gets jealous of her and starts imagining a non-existent affair between her husband and Kamakshi. She goes back home alone, refusing to live with either her brother or the youngest sister. She finally has broken the shackles of others controlling her life and has decided to live on her own.
The project to make films onThakazhi Sivasankara Pillai's stories came when Doordarshan in their Timeless Classics series wanted to compile works of writers in different languages who have produced classic literature.[3] This was the first film in the project and was followed byOru Pennum Randaanum in the next year. Both films have a four-chapter structure based on independent short stories byThakazhi Sivasankara Pillai. The films also share the same geographical and temporal setting.
Adoor selected the stories on which the movie is based, from the 300-400 stories that Pillai wrote. They were originally written over a long period of time. The director stated that he chose these particular stories because of their current relevance. He has claimed that unlike his previous films, this one is less complex.[4]
The film premiered in the masters section of theToronto International Film Festival in September, 2007. It has so far been screened at more than twenty festivals[5] TheMiami International Film Festival selected Adoor Gopalakrishnan's Naalu Pennungal. Besides Adoor,Geethu Mohandas who featured in the story 'Kanyaka', and Martin Sebastian, the co-producer of the film attended the film festival.
The film was also screened at the following festivals.
NotedMarathi filmmakerSachin Kundalkar said that his third filmGandha (Smell), an ensemble of three stories interconnected by the theme of 'smell', was inspired byNaalu Pennungal.[7]