‘Njan Marykutty’-a sincere story told honestly

Sankar’s sensitive narrative and Jayasurya’s pitch perfect performance leaves you overwhelmed

By Mythily Ramachandran

Njan Marykutty’ is a soulful story that touches your heart while unfolding the life of a woman   trapped inside a man’s body-of a journey that seeks liberation and realisation of dreams.

A first of this genre in Malayalam cinema, ‘Njan Marykutty’ is shorn of the usual ridicule that often accompanies the characters of transgenders portrayed onscreen. Director Ranjith Sankar’s  writing is marked with sensitivity and devoid of melodrama- yet most poignant, leaving you misty eyed.

Right from the word go, ‘Njan Marykutty’ stoked curiosity online once Sankar posted pictures of actor Jayasurya piercing his ears to play Marykutty. 

What does it feel to be a woman trapped inside a man’s body?
Ask Mathukutty, (Jayasurya), a software professional, who strongly believes that he is a woman. He leaves home one night after writing a note to his parents refusing to marry the girl they had arranged. 

After undergoing a sexual reassignment surgery, Mathukutty becomes Mary Kutty. From then on, it’s the life she stakes claim to- as an individual who is trying to achieve her goal solely on the merit of her talent. But is Marykutty’s family and the society around ready to embrace the new person?

The writing is solid. It’s not just Mary Kutty but every  character in the story is well-detailed, making them believable.
Jayasurya’s Mary Kutty stands dignified as she dares to fight against her birth identity. While there are enough enemies to thwart her dreams, Mary Kutty’s life is not bereft of good samaritans-her schoolmate, the single mother (Jewel Mary) with a daughter who takes in Mary Kutty; the church priest (Innocent) who is the pillar on which Mary Kutty leans upon and the understanding district collector (Suraj Venjaramoodu). 

It’s clearly a career defining role for Jayasurya who carries Mary Kutty gracefully within him. Be it in her sari clad attire, or in her gait, you notice the woman yearning to find her own place. Despite the barbs thrown at her by people around, Mary Kutty is never embittered. Neither is she holding any grudge against anyone nor angry with God, her creator. That’s what is most beautiful about the character and the writing.
The moment where she breaks down inside the prison following a humiliation brings out the finer aspect of the actor Jayasurya.

Safe in  Jayasurya’s hands, Marykutty’s tale comes with her feelings respected, her ambitions understood, eventually becoming the voice for the other Marykutty’s around, who are grappling with their identities.

 Keeping pace with him is actor Joju George. As sub- inspector Kunjipalu, he is out to take a vengeance on Mary Kutty. Wth a supportive subordinate he indulges in crass jokes, while revealing the highhandedness of the police force. George is brilliant.  

As for people around, they are visible in the gazes averted, hushed whispers and references of ‘ee Sadhanam’ (this thing) when Mary Kutty walks amidst them. 

One scene stayed with me-the moment when Mary Kutty needs to use the loo and she does not know whether to enter the male or  female  room- she eventually walks into the one meant for disabled persons.

‘Nyan Mary Kutty’ breaks out of the mould of Indian cinema stereotypes and a film that finds a place in history. Tip my hat to Sankar and Jayasurya.  

Will this bring home another national award for Jayasurya like it did for Kannada actor Sanchari Vijay for his portrayal of a transgender in the film ‘Naan Avanalla Avalu (I am a He not a She)?

‘Ennum Eppozhum’ a clean family drama

Vineeth N Pillai, (Mohan Lal) yes with the emphasis on ‘N’ is a senior journalist of a woman’s magazine ‘Vanitharatnam.’ A bachelor who is still searching for a woman with the bold traits of his mother, Pillai does seems out of place in the new order of things that is being planned by Kalyani, (UAE resident Reenu Mathews) the new editor.
London educated Kalyani is on a mission to revamp the magazine, until now under the management of her mother. Right from her first meeting she disapproves of Pillai’s attitude and style of working.
She is keen on removing him from her company but before that she assigns him a story. |Pillai is asked to interview Deepa, (Manju Warrier) a lawyer who grabbed headlines for protesting against the poor road conditions in the city after she falls into a pot hole while riding her two-wheeler.
Pillai meets Deepa but she refuses an interview.
Will Pillai file his story that is being slotted as the cover story for the new issue of ‘Vanitharathnam?’ That is a big question not only for Pillai, but for Kalyani too, who considers him an irresponsible reporter.
‘Ennum Eppozhum,’ is a typical Satyan Anthikad film, a clean family entertainer.
Manju Warrier on her second outing handles her role with maturity. Deepa, a contemporary woman and a divorcee with a child is a picture of strength yet graceful, reflecting the lives of quite a few women today. Playing Deepa’s close friend, Farah, a businesswoman is Lena. Farah’s marriage is crumbling, yet she bears it stoically.
Ranjan Pramod’s screenplay mirrors today’s woman, who takes life’s challenges in her stride without resorting to melodrama. We don’t get to see the husbands of the wronged women, leaving it to viewers’ imagination.
‘Ennum Eppozhum’ makes no lofty pretensions but narrates a simple straight story that could be yours, or your neighbour’s or maybe the lady up the alley.
Can a Sathyan Anthikad film be without humour? Remember his classic hits of the eighties, like ‘Thalayanamanthram,’ ‘Nadodikattu,’ ‘T.P. Balagopalan M.A and ‘Gandhi Nagar 2^nd Street.’
Innocent who has done the maximum number of films with Anthikad plays Kariachan, Deepa’s friendly neighbour. Kariachan and his wife are always there to help Deepa in times of need.
It’s fun to be treated to good clean humour, without wincing at double entendres and toilet humour that has become a constant staple in some of new gen films.
Mohan Lal and Manju Warrier’s pairing works well and the bond between the lead characters grows in a subtle way. Lal as the laid back journalist who seems to goof up things first is endearing. Supporting him during comic moments are Jacob Gregory and Minon who deliver good  performances.
Vidyasagar’s melodious music is a refreshing break from the loud numbers that have become the order of today.
For one who believes in making only one film a year, director Anthikaad  has always succeeded in touching a chord with the family.
To many more such films from the veteran, Ennum Eppozhum (Forever Always).