When the silver screen gives space to tribal land struggles
In Khalid Rahman’s Unda (2019), a police officer from Kerala, played by Mammootty, who is given the responsibility of leading a team of officers to ensure that elections are conducted smoothly in Maoist-hit areas of Chhattisgarh, says to a tribal boy, “This is your land, do not die”.
Kerala has a strong, eventful, and often forgotten history of land struggles by tribal societies. While often sidelined, these struggles occasionally get its hands bloody (or find itself bleeding) and land a blow on the conscience of mainstream society, becoming the topic of intellectual discussions for a while, after which they again move to the shadows.
However, once in a while, the Malayalam movie industry takes note of these events with either subtle nods inside a story or by creating an entire movie around such events.
Three movies, different perspectives
While Ranjan Pramod’s Photographer (2006), K.M. Kamal’s Pada (2022) and the recently released Narivetta by Anuraj Manohar effectively do only what the events themselves did — that is, nudge these issues into discourse for a short while — by etching them permanently in film however makes sure that the struggles of some of the most exploited communities are not forgotten.
All three of the movies mentioned above are centred on or framed against the backdrop of the struggle of tribal communities in Kerala for autonomy over their own land, and how the State responded.
In Narivetta, which is based on the true events surrounding the Muthanga protests and subsequent police shootings and brutalities, theprotagonist finds himself being a complicit part of the state machinery that is working to put out a peaceful protest by tribals for land that was promised to them. In Photographer, starring Mohanlal, the protagonist encounters a tribal boy facing police violence in a forest area. This was also based on the Muthanga incident detailed in Narivetta.
In Pada, the makers revisit the actions of the ‘Ayyankali Pada’ — the youth organisation of the Kerala Communist Party formed under Maoist ideologies by former members of a Marxist-Leninist organisation that was dissolved in 1991. Pada shows how four members of the Ayyankali Pada held the collector of the Palakkad district hostage in response to amendments made to the Kerala Scheduled Tribes (Restriction on Transfer of Lands and Restoration of Alienated Lands) (KST) Act, 1975, in 1996. The KST Act deemed all tribal lands in the possession of non-tribal people through sale, lease, mortgage or by force after 1960 illegal, giving way for tribal people to take back their land. But it was never implemented in the way it was envisioned. In 1993, the Kerala High Court ordered the State government to implement the Act within six months, but that too went unfulfilled with the State asking for continuous extensions. And finally in 1996, the the Left-led government under E.K. Nayanar passed an amendment making transactions of tribal land made till 1986 legal.
While Pada is an immediate response to the amendment, events of Narivetta take place after years of unfulfilled promises regarding the question of tribal land. While it can be criticised that the movie took the spotlight away from the struggling tribal people and gave it to the protagonist (highlighting his ‘saviour complex’), it manages to disturb the blissful existence of the comfort class, much like Vetri Maaran with his Visaaranai and Viduthalai.
Lesser-valued lives
While it is commendable that movie makers choose to portray such events and bring them back to public discourse, there is a line that distinguishes genuine representation from mere tools for character building. Arousing sympathy in the audience for the downtrodden can easily slip away into re-establishing class politics. What Narivetta fails to do is break away from the idea of the need for a saviour to help bring up the downtrodden.
It is necessary here to note another police movie that came out in Malayalam, a slow burner, that can describe the Muthanga incident in an even powerful way than Narivetta.Kuttavum Sikshayum (2022) by Rajeev Ravi is a simple tale of a group of policemen going out of their home turf in search of the accused who got away with a jewellery store heist. But the lead actor played by Asif Ali is plagued by his past, a montage that the movie opens with, where he shoots down a protester from an advancing group in a forest area. While the movie contains the disclaimer that the events are fictional, the protest can be compared to the Muthanga incident. But what Kuttavum Sikhshayum does is wrap up the whole conflict in a monologue before entering the climax, where the police officer opines how the killing, from the bullet that he fired, has vanished now, with no evidence and no one held responsible.
The character played by Alencier, a subordinate to the protagonist, listens silently as the protagonist describes how protesters pelting stones forced the then-young officer to shoot, and how his aim went at the protester’s chest rather than his legs, how higher officials saved him from any serious actions save enforced leave and how he is still tormented by the act.
Alencier then breaks the fourth wall and stares at the audience for a split second, maybe to remind them of the killing, asking them how it got swept under the rug. Near the end of the movie, the protagonist once again, with a gun in his hand, comes face to face with a person who could pose harm to him. But the police officer does not shoot.
Struggle for property has been a part of human life ever since nomadic hunter gatherers decided to settle down and cultivate the land around them. And for tribal people, who co-exist with ‘modern’ society, this struggle is not just for stability, but for existence. And cinema has its own way of reminding society of these struggles.
Published – June 20, 2025 08:30 am IST
