If we look at the history of Malayalam cinema, from the first silent film Vigathakumaran (1928) to the early 1970s, most of the films were based on literary works. The early films Balan (1938) and Jeevithanauka (1951) all had a social background. Mythological films like ‘Prahladan’ and ‘Jnanasundari’ were few in number. As early as 1951, the film ‘Navalokam’, scripted by Ponkunnam Varkey, put forward socialist ideas. ‘Neelakuyil’ (1954), directed by P Bhaskaran, deals with the discrimination faced by dalits in society. Neelakuyil was a liberation from the Tamil cinema tradition that Malayalam cinema had followed till then, and from the hyperbole of drama. The film won the President’s Gold Medal for Best Supporting Actor in a Leading Role for its uniquely theatrical and theatrical style. Neelakuyil’s success has given the directors the courage to continue to present socially relevant issues in this direction through film. Uroob’s Rarichan, Thoppil Bhasi’s Hairy Son, Thakazhi’s Shrimp, Basheer’s Bhargaveenilayam, Kesavadev’s Odayil Ninnu, Ponnikkara Rafi’s Minnaminungu, K. Surendran’s Maya, Parappuram’s Half Hour, MT Vasudevan Nair’s Murappenra and Anuchalayam. More than 100 screenplays by Thoppil Bhasi alone have been made into films. Thoppil Bhasi himself directed 16 films from “You Made Me a Communist” (1970) to “My Blue Sky” (1979). All the major works of Malayalam writers from 1960 to 1970 were copied on celluloid and well received by the audience. KS Sethumadhavan was the director who showed great interest in making such great literary films into films. Sethumadhavan, SK Pottakattu, Kesavadev, Malayattoor Ramakrishnan, MT, Pamman, P Padmarajan, Parappurathu and Thakazhi’s novels were made into films, and were well received. In the early 1970s, the distinctions between Malayalam cinema, commercial cinema, middle class cinema and parallel cinema were clearly marked. Probably the evergreen hero of Malayalam cinema, Prem Nazeer starred in the 1955 film ‘CID’, which later became very popular in Malayalam. Cochin Express (1967), 1968 (1968) (1968) (1968), (1968) is a collection of songs sung by Yesudas and Susheela, mostly by MK Arjunan and Sreekumaran Thampi. ), Rust House (1969), Kannur Deluxe (1969), Lankadahanam (1971) and CID Nazir (1971).
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At the same time, Kunchacko made a number of blockbuster films in Malayalam with the help of Thacholi songs, such as Aromalunni and Ponnapuram Kotta. It was during this time that the film was completely commercialized. In 1969, MT’s screenplay, produced by PA Backer, and later PN Menon’s low-budget, first-ever Malayalam studio-themed film ‘Olavum Theeravum’ brought back the sentimentality of neo-Malayalam cinema. In 1970, it won the State Award for Best Malayalam Film. In 1972, Adoor Gopalakrishnan’s Swayamvaram ‘was released in Malayalam. He won the National Film Award in 1972, the Best Director and Best Actress Award, and the Best Cinematography and Art Director Award at the state level. Naturally, the movements created by parallel cinema were also reflected in mainstream commercial films. The journey of Bharathan and Padmarajan in 1975, KG George’s’ Dream Dance ‘in 1979, Padmarajan’s Peruvazhiyambalam’ and Bharathan’s’ Aravam ‘(1978) all made their debut in Malayalam cinema. Lenin Rajendran’s Venal ‘(1981) marked the beginning of the all-time great Malayalam film industry. The films of Bharathan and Padmarajan in 1980 came to an end when Padmarajan became a full-fledged director and John Paul became the screenwriter. John Paul started his film career in 1980 by writing the script for the Bharathan film ‘Chamaram’. Prior to that, he was closely associated with the film industry as a journalist and organizer of film societies. Renowned screenwriter Kaloor Dennis has said that he often approached the director himself and John Paul to make corrections to the screenplay. John Paul himself wrote the script for the film ‘Chamaram’. Bharathan became interested in painting at an early age and went to study painting. John Bharathan wrote a love story with a young teacher and a student who has never been loved in her life, a love story that no one had ever told in Malayalam before, embracing all the intoxicants of the youth of the college campus. A campus love story that is still fresh today. A mediocre film that does not slip into commercial cinema. The Bharathan-John Paul duo has produced 14 films that tell the story of extraordinary human relationships.
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Movies that still linger in our minds. Unique talents like Bharat Gopi and Nedumudi Venu found their best roles in John Paul’s screenplays. John Paul co-wrote a number of films with Bharathan, including ‘Marmaram’, ‘Ormakkayi’, ‘Palangal’, ‘Ithirippoove Chuvannapoove’ and ‘Sandhyamayangum Neram’. John Paul co-starred with Mohan in ‘Vidaparayum Mumbe’ which was not only one of the highest grossing films in Malayalam but also one of the best performances of actor Nedumudi Venu. We also saw a completely different face of the evergreen hero Prem Nazeer in that movie. Along with Mohan, John Paul also acted in films like ‘Alolam’ and ‘Rachana’. John Paul wrote up to 19 screenplays a year in the 1980s. But they were all completely different. Unnikrishnan, a forest officer, is one of Mammootty’s best known characters in John Paul’s screenplay ‘Yathra’ (1985). Along with KS Sethumadhavan, John Paul wrote the screenplay for two films, ‘Unknown Streets’ and ‘Nobody Knows’ (1985). John Paul has teamed up with mainstream directors like IV Sasi, K Madhu, Jesse, Sibi Malayil and Kamal. However, John Paul’s screenwriter perfected when he teamed up with directors Bharathan and Mohan. The last screenplay was ‘Sea of Love Fishes’ written for Kamal in 2019. John Paul was a genius who refused to swim with the flow. John was never ready to compromise for the satisfaction of the players. As mainstream cinema moved away from society and people, John Paul immersed himself in writing, presenting informative lectures on television, and other social work. Without complaint, John Paul was instrumental in giving birth to MACTA, an organization of film technologists. The films scripted by John Paul still live on in the minds of the audience. As long as those films are there, their creator will be in the minds of the people. John Paul’s screenplays were journeys into the complexities of human relationships. That loving man has left us with no complaints about not getting the recognition he deserves. Through his own stories, writings and lectures, he will continue to revive the Malayalam medium films in our midst.