Sathyan Anthikkad

They say even non-human elements of his movies took on an importance of their own.

The belching bovine in Nadodikkattu, the absconding cow in Ponmutta Idunna Tharaavu (How can one forget Oduvil’s heartfelt cry “Pashooo, Pashooo!!”?), the 10-pavan maala in the same movie, the omnipresent bus in Varavelpu, house owner Gopalakrishna Panicker’s umbrella in Sanmanassullavarkku Samaadhaanam… They all added depth to the central characters, which no dialogue, no expression could have.

One thing can be said very safely about Satyan Anthikkaad. He didn’t take himself or his view too seriously. Watching his movies, one got the feel that there is space in this world – at least in Kerala – for all kinds of people and views. None of them was more important than the other.

The wry humour (often dark), the lighthearted nature and smooth flow of the plot made him, according to me, the true heir to the Hrishikesh Mukherjee school of movie making. In fact, while Hrishida often got preachy, Satyan Anthikkad mostly kept off that track.

As is evident Satyan Anthikkad’s primary background was rural Kerala. Each of his character was representative of a traditional stereotype.

Somehow one gets a feeling that deep down, he doesn’t think much of urbanization. He perhaps associates urbanization with most negative qualities and the village with innocence (Blessy too belongs to that school of thought, I feel).

Sometimes Satyan Anthikkad strayed. Towards larger than life themes like revenge and ‘higher philosophies’. Like it happened with Pingami and Rasathanthram.

Needless to say, he failed miserably.

Our man should stick to the simplicity and innocence he values so much. We need him to remind us of the child within us.

Best: Ponmutta Idunna Tharaavu, Sanmanassullavarrku Samadhanam, T P Balagoplan MA, Nadodikkattu and many others

Worst: Pingami, Rasathanthram and few others