Film review: Njan Marykutty – Revolutionary in spirit, lukewarm as a movie

In the world where it is norm to say one is pansexual, it is surprising that a representation of the life of a transsexual Malayalee, took long enough to hit the screen. We are living in a time where academic disciplines and the public perceptions about the idea of ‘Gender’ is going through a radical and positive change. Everyone becomes a part in the Gender Spectrum, similar to the litmus levels in Chemistry. We have seen Transsexual movies in other languages, such as the critically acclaimed Bengali movie ‘Arekti Premer Golpo‘, starring Rithuparno Gosh and the accomplished Hollywood flick, ‘The Danish Girl’, where the lead characters detest the way they’re born and embrace their own space and identity, through surgical means. Njan Marykutty is the first Malayalam film to be inspired from this theme shows the ‘other’ gender in a positive way.

Instead of showing the biography of the character from birth, the story begins after the birth of Marykutty from the ashes of Mathukutty, her biological gender. The first half of the movie showcases a confident Marykutty who believes that the way to dignity is achieved through a position as Government Executive. But her dreams are shattered at first, by her attitude to expose to injustice. She realises that not everything can be achieved with a sheer determination.

The story gives the idea that, despite one’s effort to stay true and stand upright, the system and the society makes a human twisted. But the character Mary goes beyond petty revenge and is ready to fight, whatever may be the cause. Despite being a state with high human development index and literacy rate, the Victorian morality that has deep roots in our minds is depicted perfectly by the crew. Even today, it is difficult for people to think outside the binaries of man and woman.

The Director has only chose to include situational jokes and has treated the idea that he tries to convey, seriously. The common man, represented by the two characters who is always in the tea shop, is a metaphor for people in general. They stare at things questioningly that doesn’t fit their logic and insults others for their alternate views and beliefs. The people who ‘protects’ the society is not a new sight and is prevalent in every nook and corner. They’re alien to the notion of privacy and integrity, or rather as Marykutty says, has ‘difficulty’ in accepting something new. The Kerala Government has introduced welcoming policies such as setting up of Co-operative societies and the G- Taxi, so that people who struggle with their sex and social identity, doesn’t fall in the trap of prostitution and begging. The movie reminds that despite measures like reservation and financial security, the change to accept them has to come within ourselves.

The mimicry background of Jayasurya has helped him tune his vocal cords and tone down his manliness and change his habits to a man who has the heart and soul of a woman. Coming to the rest of the cast, the people around Marykutty, gives a flat vibe. Either they’re with Marykutty or against her. Elements of shades of grey, could have been included to make the movie more realistic. The motivating one liners feels awkward around the ‘Shero’, at times, but in a film in this genre, can be excused, because it instills a hope around us, that even institutionalized religion has become broad minded. Being an outcast from her family and the society, is not something that goes down well in the psyche. Marykutty becomes a victim, or charged guilty by the society for something that is wrong in their eyes.

The lyrics by Santosh Varma stands apart and it’s rendering by Biju Narayanan and Vineeth Sreenivasan gives a soothing cover to the struggle that Marykutty undergoes. Whereas the background score, one is forced to admit, has been loosely employed and it’s lazy use at everything revolutionary, makes the script look monotonous. At times, the movie feels a bit rushed and seems that the ‘Universe’ is a bit more keen than the usual to solve Marykutty’s issue. We witness some cringe moments here, but considering the fact that from being labelled and ridiculed for being a ‘chantupottu’, the transsexual and the transgender has become assertive for humanity and legal recognition. Ranjith Shankar, dedicates the movie to all ‘Marykuttys’ around us and highlights that the silver screen is an all inclusive space.