Beyond the screen | S.R. Praveen's book on Malayalam cinema's evolution
S.R. Praveen's 'Ticket to Kerala' is an engaging primer on Malayalam cinema's remarkable evolution
One of the many positive fallouts of OTT platforms is that access to the latest gems of Malayalam cinema is now easy. S.R. Praveen’s book emerges in a climate where audiences across India know its stars, and cinephiles agree that no other film industry in the country is as ingenious and daring and that content is the star here.
One of the many positive fallouts of OTT platforms is that access to the latest gems of Malayalam cinema is now easy. S.R. Praveen’s book emerges in a climate where audiences across India know its stars, and cinephiles agree that no other film industry in the country is as ingenious and daring and that content is the star here.
One of the many positive fallouts of OTT platforms is that access to the latest gems of Malayalam cinema is now easy. S.R. Praveen’s book emerges in a climate where audiences across India know its stars, and cinephiles agree that no other film industry in the country is as ingenious and daring and that content is the star here.
“It is probably because of the industry’s inherent limitations that it sustains quality consistently,” says Syam Pushkaran, one of the leading writers in Malayalam cinema. “Big studios or corporate houses have yet to be successful here, because the formula, or the lack of it, is tough for them to crack.” It’s a pertinent observation and one that requires deliberation. But answering the whys is not what Ticket to Kerala intends to do.
Much like the movies, the book is divided into two halves. There’s the ‘New Wave’, where Praveen shines a light on creators like Pushkaran, Basil Joseph, Lijo Jose Pellisserry and Dileesh Pothan, whose works have infused vigour into the industry. The second digs into the past, offering a dummy’s guide to the history of Malayalam cinema and the key figures who shaped it, and pays tribute to several iconic films.
Ticket to Kerala works best if you are looking for a list of recommended films, the sort that aren’t easily accessible on OTT. Praveen covers a lot of ground, including the formation of the Women’s Cinema Collective and the challenges female professionals still face despite being in an industry that, for many, champions progressive cinema. While heavy on information, it falls short on insight. The decision to include long interviews is a device that doesn’t always work, disrupting the rhythm.
The most revelatory bit here is the presence of film societies all across the state and the significance of the International Film Festival of Kerala (IFFK) in exposing its audience to world cinema. It best explains why Kerala filmgoers make for discerning viewers who don’t settle for the formulaic.
