yakshi movie review in tamil

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Last Updated : 21 Apr, 2023 08:06 AM

Published : 21 Apr 2023 08:06 AM Last Updated : 21 Apr 2023 08:06 AM

யாத்திசை Review: கவனத்துக்குரிய களமும் காட்சிகளும் தரும் திரை அனுபவம் எப்படி?

அதிகாரத்தை அடைய பேரரசை எதிர்க்கத் துணியும் சிறு இனக்குழு ஒன்றினால் நடத்தப்படும் போராட்டத்தின் ரத்த வாடைதான் ‘யாத்திசை’.

7-ஆம் நூற்றாண்டின் பாண்டிய அரசன் அரிகேசரி. இவரது மகன் ரணதீரன் (ஷக்தி மித்ரன்). இந்த பாண்டிய பேரரசுக்கு எதிராக சேரர்கள் போரிடுகிறார்கள். அவர்களுடன் சோழர்கள் மற்றும் எயினர்கள் உள்ளிட்ட சிறுகுழுக்களும் இணைந்து உதவி புரிய, போரை வழிநடத்தும் ரணதீரன் தலைமையிலான பாண்டிய படை வெற்றிபெறுகிறது. இதன் எதிரொலியாக சேரர்கள் நாடு கடத்தப்பட, உதவியாக வந்த சோழர்கள் காட்டுக்குள் தலைமறைவாகின்றனர். இதில் பாண்டியர்களால் பாலை நிலத்திற்கு விரட்டப்பட்ட எயினர் குழுவைச் சேர்ந்த வீரன் கொதி (சேயோன் ) தனது குழுவைத் திரட்டி, சோழர்கள் உதவியுடன் ரணதீரனை வெல்ல முடிவு செய்கிறான். இறுதியில் ரணதீரனை கொதி வென்றானா? பாண்டிய பேரரசு வீழ்ந்ததா? - இதுதான் திரைக்கதை.

பேரரசுக்குள் அதிகாரத்தை அடைய நிகழும் சூழ்ச்சிகளும் துரோகங்களுமாகவும் அல்லது இரு பெரும் பலம்பொருந்திய அரசப்படைகளுக்கு இடையிலான சண்டைகளாகவுமே வரலாற்று புனைவு படங்கள் காட்சிப்படுத்தப்பட்டுள்ளன. ஆனால், எயினர் குடி என்ற சிறிய இனக்குழு ஒன்று அதிகாரம் பொருந்திய பேரரசை எதிர்த்து ‘அதிகாரம்’ பெற்றதா என்ற சுவாரஸ்யமான ஒன்லைனை பிரமாண்ட காட்சி அமைப்புகளுடன் படமாக்கியிருக்கிறார் அறிமுக இயக்குநர் தரணி ராசேந்திரன்.

மூளும் போர்களுக்கும், வீழும் உயிர்களுக்கும், அரச மமதைக்கும் அடிப்படை ‘அதிகாரம்’ தான். அரசுகள் மாறக்கூடியது. அதிகாரம் மட்டுமே நிலையானது என்பதை நிறுவுகிறது படம். கதை கோரும் பிரமாண்டத்தையும், அதற்கேற்ற காட்சியமைப்பையும் எந்த சமரசமுமின்றி பதிவு செய்த விதம் களத்தை சுவாரஸ்யமாக்குகின்றன.

பல்வேறு இனக்குழுவைச் சேர்ந்தவர்களின் தனித்துவமான பழக்கவழக்கங்கள், அவர்களின் கலாச்சார வழிபாட்டு முறைகளின் சித்தரிப்பு, அவர்கள் வாழும் நிலபரப்பு, வீட்டு அமைப்பு, மண்பாத்திரங்கள், உணவுமுறைகள் உள்ளிட்டவற்றின் மூலம் அவர்களின் உலகில் நாமும் பிரவேசிக்கும் உணர்வு, காட்சிகளுக்குள் ஒன்ற உதவுகிறது.

குறிப்பாக, எயினர் குல கடவுள் கொற்றவைக்கான சடங்குகளும், உயிர் பலி கொடுக்கும் முறையும் சுவாரஸ்யம் கூட்டுகின்றன. போலவே பழந்தமிழரின் மொழியை கூடுதல் சிரத்தையுடன் பதிவு செய்திருந்தது, அம்மக்களில் பெரும்பாலானோர் தங்கள் உடலை துணிக்கு பதிலாக ஆபரணம் மற்றும் நகைகளால் மூடியிருப்பது, தேவரடியார் முறையின் அவலம், பேரரசு தொடங்கி சிறு இனக்குழு வரை ஆணாதிக்க சமூகமாக இருந்ததை காட்சிப்படுத்தியிருந்த நுணுக்கமான அணுகுமுறை கவனிக்க வைக்கிறது.

ஷக்தி மித்ரன், சேயோன் இருவரின் அழுத்தமான ஆக்ரோஷமான நடிப்பும், அவர்களின் இறுதி சண்டைக்காட்சியும் அறிமுக நடிகர்கள் என்ற சாயலிலிருந்து விலகி நிற்கின்றன. ராஜலட்சுமி, குரு சோமசுந்தரம், சுபத்ரா, சமர், வைதேகி அமர்நாத் உள்ளிட்டோரின் கதாபாத்திரத்திற்கு தேவையான யதார்த்த நடிப்பு படத்திற்கு பெரும் பலம்.

ரணதீரனுக்கு எதிரான முதல் சண்டைக்காட்சி தொடங்கி போர்க்களத்துக்கான விறுவிறுப்பு என படம் நெடுகிலும் சக்கரவர்த்தியின் பின்னணி இசை காட்சிகளுக்கு உயிரூட்டுகிறது. அகிலேஷ் காத்தமுத்துவின் பிரமாண்ட ஒளிப்பதிவு ப்ரேமுக்கு ப்ரேம் அழகியலுடனும், போர்க்காட்சிகளை படமாக்கியிருக்கும் விதமும் ரசிக்க வைக்கின்றன.

சில இடங்களில் சிஜி காட்சிகள் அப்பட்டமாக தெரிகிறது. படத்தில் எயினர் சமூகத்துக்கான வழக்கொழிந்த மொழியை பதிவு செய்திருப்பது கதைக்கு எந்த அளவிற்கு பயனளிக்கிறது என்பது கேள்விக்குறி. காரணம் அவர்கள் பேசும் காட்சிகளில் ஒவ்வொருமுறையும் சப்டைட்டில் பார்க்கும் உணர்வு மேலோங்குகிறது. ‘அதிகாரம்’ தான் எல்லாவற்றிற்கும் அடிப்படை என்பதை வெறும் வசனங்களாக சொல்லியிருந்ததும், அதற்கான அழுத்தமான காட்சிகள் இல்லாததும் பலவீனம்.

இப்படிச் சில குறைகள் இருப்பினும், புது வகையான திரையனுபவத்தை யதார்த்தமான காட்சிகளுடன் சொல்ல முனைத்திருக்கும் விதத்தில் ‘யாத்திசை’ கவனம் பெறுகிறது.

அன்பு வாசகர்களே....

இந்த ஊரடங்கு காலத்தில் வீட்டை விட்டு வெளியே வராமல் நமக்கு நாமே சமூக விலகல் ( Social Distancing) செய்து கொள்வோம். செய்தி ஊடகங்களின் வழியே உலகுடன் தொடர்பில் இருப்போம். பொதுவெளியில் இருந்து தனிமைப்படுத்திக் கொண்டு கரோனா பரவலைத் தடுப்பதில் நம் பங்கை முழுமையாக இந்த சமூகத்துக்கு அளிப்போம்.

CoVid-19 கரோனா தடுப்பு / விழிப்புணர்வு கையேடு - இலவசமாக டவுன்லோடு செய்து பயன்பெறுங்கள்!

- வாசகர்கள் நலனில் அக்கறையுடன் இந்து தமிழ் திசை

தவறவிடாதீர்!

•   ஹரிஷ் கல்யாண் - ‘அட்டகத்தி’ தினேஷின் ‘லப்பர் பந்து’ படப்பிடிப்பு தொடக்கம்
•   “இளையராஜாவுடன் அடுத்த படத்தில் பணியாற்றுவேன்” - இயக்குநர் அல்போன்ஸ் புத்திரன்
•   “அயோத்தி படம் மீது எனக்கு அதீத நம்பிக்கை இருந்தது” - நடிகர் சசிகுமார்
•   இஸ்லாமியர் இறை நம்பிக்கை, குரானை இழிவுபடுத்தும் ‘புர்கா’ படத்தை தடை செய்க: சீமான்

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'Bramayugam' and 'My Dear Kuttichathan': Depicting the struggle of gods and demigods for freedom from humans

When Chathan, residing in the form of Kodumon Potti (Mammootty), informs Thevan (Arjun Ashokan) that "This is Bramayugam, a perversion of Kaliyuga," it felt like the Chathan was speaking not to a medieval age but to the present. With these lines, Chathan subtly suggests to the Panan that within the intricate labyrinth (represented here by the mana or mansion) crafted by megalomaniacs, even deities and demigods find themselves held captive within structures and scriptures ostensibly erected for worship and spiritual wellbeing, but in truth constantly manipulated for the benefit of the powerful.

Though there is no dearth of folklore about human treachery and how they deceived and enslaved Chathan, a naive demigod, Malayalam cinema brought it to the silver screen in 1984 through Jijo Punnoose's 'My Dear Kuttichathan'. Although Jijo's Kuttichathan was originally packaged as a children's film, when dissected alongside Rahul Sadasivan's 2024 film 'Bramayugam', it fits well under the political lens.

Rahul's 'Bramayugam' and Jijo's 'My Dear Kuttichathan' depict the manipulation tactics of power-hungry people who ensnare gods and demigods like Chathan, Karinkali, Yakshi, etc., exploiting their vulnerabilities to instil fear and exert control over fellow beings. Sounds familiar?

In 'Bramayugam', Chathan finds himself trapped within the body and mana (mansion) of Kodumon Potti. In 'My Dear Kuttichathan', Kuttichathan is entrapped by the black magician portrayed by legendary Kottarakkara Sreedharan Nair. In 'Bramayugam', while initially, it appears as if Chathan holds sway over the situation, as Rahul expands the story, it becomes clear that Potti's illegitimate son (Sidharth Bharathan) is the one who truly holds the reins in 'Bramayugam'. Potti's son, who is depicted as the cook at the mana, keeps Chathan confined within the mansion by manipulating him with alcohol, meat, and women. He is waiting for the opportune moment to seize the source of Chathan's power—a ring. In Kuttichathan, Kottarakkara wants the demigod to find him a long-lost treasure.

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During the culminating struggle, the young Potti uses Thevan as a shield to defeat Chathan and capture the source of absolute power. However, he underestimates the resolve of the common man. Thevan, with all his innocence, tries to impart wisdom to the young Potti about the vice of power, but when all his attempts fail, he unleashes a resistance that the power-hungry Potti had not anticipated. The revolution of the oppressed destroys the mansion, the power centre, and in the process frees Chathan from the master. In 'My Dear Kuttichathan', it's the innocent children who bring down the black magician and free the demigod. In both films, the villains meet a violent end. When Jijo Punnoose used fire to display a larger force, Rahul Sadasivan used the Portuguese soldiers as the symbol of a mightier force that would devour Potti and the like.

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On December 24 last year, one of the most popular directors of the Malayalam film industry, K S Sethumadhavan, passed away. Reading through the obituaries and his filmography, one of his movies caught my eye.

The film was Yakshi, released in 1968 based on a novel by the same name by Malayattoor Ramakrishnan published a year earlier. But even before the movie’s release, the stories of yakshis were very much in the popular imagination of Malayalis.

Kottaratthil Sankunni, in his collection of legends of Kerala titled Aithihyamala and published in early 20th century, brings in the story of few yakshis along with their tormentors like Surya Kaladi Bhattathiri and Kadamattathu Kathanar.

In these stories, yakshis with their bewitching beauty would entice their victims, usually travellers passing through scantily populated regions. Due to their magic spell, the saptaparni (Indian devil tree) would bloom with its intoxicating fragrance and the travellers would see a palatial mansion—which in reality was the palmyra palm tree, the abode of these yakshis.

After reaching the top of the trees, these dazzling damsels would transform into ferocious ogresses and devour their victims. In some of the cases, the victims would escape these torments due to the protection they receive through some miracle or holy book. In one of the stories, Chamravattatthu Yakshi falls in love with her victim and spares his life and even enters into a secret relationship with him.

On the other hand, Kalliyankaattu Neeli’s story is more dramatic and narrates her gruesome murder by her own lover. Neeli’s name is associated with Kalliyankadu in southern Travancore and we find references to her in different ballads from the region. In addition to this, Marthanda Varma by C V Raman Pillai, one of the earliest Malayalam novels, also mentions her. Neeli was more ferocious and had a long list of victims and is said to have surrendered to Kadamattathu Kathanar, a well-known exorcist in Kerala who encaptivated her in Panayannarkavu temple in Pathanamthitta district.

My idea about the yakshis as a Keralite was well fostered by the legends expounded by Kottarathil Sankunni and movies like Yakshi (1968) and Kalliyankaattu Neeli (1978). These popular media created a picture of yakshis as blood-sucking vampires.

When I started learning art history, I got introduced to more yakshis, this time from north India. Mauryan-period yakshis of Didarganj, Patna and Vidisha with voluptuous physique, Kushana-period yakshis of Bhuteswar with nonchalant nakedness and Gyaraspur Yakshi, they all smiled at me enchantingly from the volumes on Indian art.

The difference was that they were not the poltergeists from horror movies but embodiments of beauty and the representation of abundance. The palmyra palm and the palatial house on its top disappeared; so did the enticing fragrance of the saptaparni tree. The only story close to the Kerala yakshis came from Buddhist tradition in the form of Jataka, known as Simhala Avadana Jataka, where Simhala, a merchant along with his friends reaches the shores of Tamradvipa inhabited by the ogresses who disguised themselves as beautiful women.

In the Jataka, these ogresses are never designated as yakshis because of the fact that in the Buddhist and Jain traditions, the yakshis and their male counterparts, yakshas, are protectors of the village and reside on the pipal or banyan trees. They are usually handsome and beautiful, representing the fertility cult. Many of them are represented with children as in the case of Ambika, the yakshi associated with Neminatha, the 22nd Jain Thirthankara. Buddhism has Hariti, an ogress converted by the Buddha as the protector of children.

The ferocious mother goddesses as the protectors of children and villages are also popular in Tamil culture. German scholar Heinrich Zimmer refers to a tree spirit known as Taalavasini who resided in the palmyra palm tree according to ancient Tamil legends. In the southern part of Kerala, one can observe the worship of Madan, a folk deity who got appropriated into the Brahmanical pantheon as the son of Siva. Madan is the protective spirit of the villages (kaval daivam) accompanied by yakshis and other female deities.

Most of the shrines exclusively dedicated to yakshis are in present-day Alappuzha and Pathanamthitta districts, with one or two in the Kochi region. Some of the shrines would be attached to Bhagavati temples as in the case of Panayannarkavu. Surprisingly the shrines for these semi-divine spirits are non-existent in the Malabar region, probably for the reason that these kinds of spirits were already incorporated in the Teyyam and Tirai tradition.

The yakshis also appear to be part of the Tantric tradition where they are classified into 36 types. The character of yakshis in Kerala seems to be having close affinity to those of Tantric tradition. This is because the state was one of the last bastions of Tantric Buddhism and an existing centre of Brahmanical Tantric tradition. However, as the yakshi cult is non-existent in north Kerala, it is safe to place them closer to the Tamil tradition.

In conclusion, one may state that the yakshis of Kerala have their origin in the Tamil tradition as tree spirits and protectors who have been given an Aryan name, just because of their enchanting beauty and bewitching smile.

Jayaram Poduval

Head, Department of Art History, The Maharaja Sayajirao University of Baroda

(This is an article in the ongoing series by the author on pre-modern visual culture of Kerala)

([email protected])

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A Group of three friends (From Madhya Pradesh) go to Kerala to attend a wedding. After wedding, they go out to Roam and go to strange places, Reckless and Careless. A tea seller also warn th... Read all A Group of three friends (From Madhya Pradesh) go to Kerala to attend a wedding. After wedding, they go out to Roam and go to strange places, Reckless and Careless. A tea seller also warn them about a "YAKSHI" but, they Roaming Regardless all.Meanwhile, A Yakshi came in different... Read all A Group of three friends (From Madhya Pradesh) go to Kerala to attend a wedding. After wedding, they go out to Roam and go to strange places, Reckless and Careless. A tea seller also warn them about a "YAKSHI" but, they Roaming Regardless all.Meanwhile, A Yakshi came in different Appearance, then the door turn into a dreadful story.

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