Years ago, I reached out to renowned writer M.T. Vasudevan Nair to discuss the nuances of adapting literary works for the silver screen. His unexpected response was, “I’m sorry, I’m not competent to talk about films.”
He elaborated, stating, “I’m a writer first and foremost, not a filmmaker.” This humility was striking, especially considering his illustrious accomplishments, including winning the National Award for his directorial debut Nirmalyam in 1973, based on his own story from the 1950s, Pallivalum Kalchilambum. Nair had also successfully directed six more films and produced a noteworthy documentary on writer Thakazhi Sivasankara Pillai. He had already established himself as a respected screenwriter, infusing Malayalam cinema with a deep literary quality that influenced many future scenarists.
Despite his credentials, Nair admitted he often found his films lacking compared to his original narratives. He remarked, “Cinema is part technology, part creativity. Writing is far superior,” revealing his belief that some of his film scripts might have been more compelling as stories or novels.
Highlighting Young Male Experiences
Nair’s reluctance to comment on screen adaptations hints that his films represented a side venture from his primary literary pursuits, which began in his early twenties. The societal shifts in Kerala during the 1950s and 60s, particularly affecting young upper caste men caught in a crumbling feudal system, resonated deeply in his works. His early characters, like Appunni from Nalukettu and Govindankutty from Asuravithu, embodied feelings of loneliness and confusion, engaging the youth of the time.
Nair recognized a recurring theme in his writings: the narrative of the wronged individual hindered by societal decay. Influenced by global literary figures such as Ernest Hemingway and Albert Camus, his first novel, Pathiravum Pakalvelichavum (1957), even references Ibsen, underscoring the struggle of the lone individual against the tide.
Embracing Universal Humanity
Nair’s collaboration with filmmaker Ramu Kariat and writer N.P. Mohammed emphasized the human experience, a reflection of the universal humanism that marked the Nehruvian era. The poignant question posed in Pathiravum Pakalvelichavum—“Moideen, are you human?”—permeates Nair’s narratives, revealing existential dilemmas faced by his characters, such as the struggle between modern materialism and the tranquility of rural life.
Additionally, his celebrated work Randamoozham (Second Turn) presents the ‘humanized’ Bheema against the backdrop of the rich narrative pauses of the Mahabharata.
Nair continues to resonate with readers by voicing the experiences of the marginalized and marginalized figures in society. He expertly narrates their struggles and injustices, reinforcing the idea that they were victimized not by choice but by circumstance.
During a recent visit to his home in Kozhikode, I asked for an autographed book for a library project. When I requested his collection of stories, Nair humorously replied, “All of them bear my signature,” before handing me a signed copy.
