Financier is the Hero!

FINANCIER IS THE HERO

In the context of financial capitalism, finance , in  aggressive moods and designs  conspire direct conquest of the heroic space in the Malayalam film industry. Finance, of course, is the hidden motif in the business  of  heroism, cultivated by the commercial track of the cinema but in the golden times of the middle class oriented cinema , hero was primarily a philistine musical performer with  muscled  brain fighting against the illicit money  mountains and all the social evils delivered from the  caverns of capitalist  filth   . At the beginning of the twenty first century, the quotation goonda and murderer,  an ugly creature and a side tracked inevitability  in the conventional film script, is transformed to a dignified  metaphor of heroic pathos aligned to the ennobled monetary terrorism. Saathan displayed by the youngster hero , Prihviraj,( in an excellent filmic excursion on terrorism and pathos— the cathartic pity and terror---) marks the birth of a quotation goonda climbing the  pedestal of the tragic hero- deity.. The terror scripted in the fabulous filmic jargon, is sustained by the powerful motif of finance,  which formulates the destiny of the narrative-drama. Finance and terror aligned to  finance accumulation, displace the conventional muscled throats of music from the berth of heroic  consummation

                Sree Krishnan,  the financier of Kuchelan ,darling of the females , the flute player and musical artist. .the warrior majesty who smashes  a legion with the sway of  single revolving finger, is a condensed archetypal image.   The Malayalm film industry(nor the  malayalm lyricist  herd with its high priestess,  the ultra feminist Sugatha kumari)  never could extricate itself from the roots of this heroic physical and metaphysical labyrinth; In the dusty  fable of Nandanam (of Balamani demonstrated by Navya nair) which sells the Malayalee  Cinderella( endearing to the infant  worshippers of  Khasak),the sentimental  directorial malice makes the presence of the financier felt in the indirect terrain of miracle.  It is miracle displayed by the hidden financier god, The modern film maker who interprets  the financier myth is  enmeshed in the instinct of racial sentimental threads  which binds him tight to a  breath  of suffocating unfreedom.

     Now  in  the post modern premises, as the financier and the financing  institutions  write the deep destiny of the fourth world paradises   the financier of Kuchelan is never more a hidden miracle but a super intellectual  hero as he makes his appearance as naked financier of the married girl down the door in Ore Kadal.He takes his worshipper female down to the agonizing fantasies of insanity  invalidating her young male partner who is an innocent victim of the adorable womanizer and financier.Ore Kadal is the supreme  cinematic expression of  the emotional subjugation of a race manipulated by the financier myth. Humanity  swims back to the racial memory of the emancipation of the poor Kuchelans., as it listens to the thunderous voice of the emancipation of women, concocted  by the world bank.  Syamaprasad accepts the theme of emancipation  of women  ignoring the existence of the male partner who also demands justified micro-financial emancipation ;but  the theme propagated by financial capitalism is the emancipation of women, ( not of kuchelans but of gopikas only). what ever be the fate of  the young husband. The  genius director is overawed with the tragic fate of   the financier womanizer embroidered with the vestiges of existential anguish. As the woman climbs the steps towards the upper storey she is emancipated from the time and space of her husband who vanishes  into nothingness. So emancipation of women by means of micro financial contribution is the political agenda in which the existence  or fate of the vanishing husband is a zero affair;it doesn’t come within the emancipation theme which is a coveted  feminist right  and a boon in the fantastic decentralization exercise  played upon a depleted economy

                             The dear accomplice of the financier is the hired goonda the racial archetype of which is the heroic Chevakar, who would cut the throat of another hired sub-human for the benefit of ankappanam or   the wages  of  murder. What ever be the historical and cultural premises of the ankam ---sword duel- the philosophy of the quotation goonda and chevakar geminates from the  absurd  of- murder( for  financial  reward)—and suicider human bomb  is the extreme of the horrible absurdity  glorified  to the level of noble sacrifice . In the cinematic disposition where the quotation goonda is the hero –( remember the exemplary filmic language of  Violence-) finance smeared with blood is the  tacit supreme motif.

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                            In the contest between the actor and script writer, the script writer emerges   victorious only because a noble financier patronises   him.—Udayan is the Hero--; the script writer cum director  here is a diplomatic tool deployed by the financier. In the battle between actors and superstar financiers, between Thilakan and the financier cum superstar  the superstar financier is supported by film chamber and technicians.. The actor is reduced to a caricature and thrown out of the field. It is the  financial conquest of  cinema and  financial imperialism dictates the terms of the heroic space and time ; the artist,. the miserable kuchelan is banished and vanishing  whereas his fiancé or soul mate is finally emancipated by the financier.

                              Get on to the Loud Speaker : the organ trader, the organ donor and the financier are unified into a single sentimental composition . The film that treats the organ donor as a flexible virtuous idiot , romanticizes the financial donor to the level of a glorious tragic hero. In Ore Kadal the middle aged financier subjugates the young husband ; In Loud Speaker the old aged financier subjugates the young illiterate idiot so as to make himself a hero  adorned with romantic charm. The illiterate donor belongs to the species of Ayyappan, embedded in the folk epilogue:ayyappanenthina pennu. Pasu pore….?(A wife is of no use to Ayyappan as he is  pleased with getting a cow  as his life partner); and the rustic idiot does not identify the ethical value of a human organ

                        A direct contest between the artist director and the financier is demonstrated with  remarkable stupidity in Azhakiya Ravanan. The director artist sells his girl for the profit of a project and the caricaturized financier  wins the girl; the woman is emancipated from the space of romance to the financier’s nuptial bed allied to the terrorist money won from the Mumbai underworld. The  image of financier in  Azhakiya ravanan is blunt but he is the natal sibling of the  super intellectual financier in Ore Kadal ; The director of  Azhakiya Rvanan is humble enough to feel shame in projecting the financier as hero , who lacks a feudal back ground . But the super intellectual hero of  Ore Kadal borrowed from the waste bin of Bengali literature is baked in boiling arrogance , a nauseating contempt supplemented by his feminist  sex-mate who fiddles the jargon of stale sentimentalism.

                           The illiterate financier-Palisa Govindan turns a romantic hero in a Jayaram comedy.. The blade of finance that cuts the neck is transformed to soothing romance. Yet  financier Govindan is a new generation myth   that feeds upon the memory of the ludicrous villainy of the Saint Kochu vava. The major point  of contradiction here is the illiteracy of the financier hero but Syama Prasad makes his financier hero an abominable creature as he decorates the crown of the financier with laurels of intellectual recognition

                       Mizhi Randilum is yet another demonstration of financial heroics in which a financier male and genial joker  outshines a humanist doctor  and protects a sinking family of  damsel twins- another instance of women empowerment agenda set in motion by the financier lads and lords

               Now come to the film Madambi a film  managed or manipulated by a shameless butcher of the entire history of art. It is a propagandist film in which the heroine is a lamb  deployed by a new generation bank  and the hero is the convert of a traditional  scoundrel who now does the business of financing just to redeem the entire humanity from the multitude of sins that burn the entire surface of  terrestrial existence. Now as we live in an age of 2g  spectrum. Ipl,. Commonwealth., Lavlin,SantiagoMartin –Kairali nexus episodes we do comprehend the hidden versatility of financial heroism. Yes , we dig up the fable of midnight murder set at Palaery for congested political motives. but  erase from  memory, the midnight murder of Muthoot Paul the financier prince; midnight murder or day time lottery or burglary, the financier hero registers contribution of crores per day in the accounts of  advertisements. It is the tract of reality where we plant the financier hero with a spurious mission- to betray the necessity of truth 

           

Ratan Tata and not Manmohan raja is the hero

Pharris Abuabaker  and not Pinarayi is the hero

Santiago Martin and not Issac is the hero

-S.SUDHISH