I am a talented actress: Mumait Khan

"Pournami Naagam is an opportunity for me to prove that I am not just a good dancer, but also a talented actress. Doing dual roles is no easy task. I will try to excel in both the roles," says Mumait Khan.

"Featuring me in a dual role for the first time in my career, the film revolves around two Naga Devatas (female snakes), who want to perform a ritualistic dance before Lord Shiva in a bid to save the world from the fast approaching collapse and annihilation," Mumait says.

"Such a role has been performed by actresses like Sridevi and Sri Priya earlier. I wish I can match their performance in Pournami Naagam," says the actress with all hopes.

Known for his science fiction and horror thrillers, 'Yaar' Kannan has directed the movie. Heaping laurels on the filmmaker, she says, "I have seen 'Yaar' by Kannan. I marvelled at his skill to narrate a super-natural thriller in a convincing manner. I had no hesitation when he approached me for this movie."

'Pournami Naagam' has 'Billa'-fame Adhitya and Karunas playing the lead roles. S A Rajkumar has scored the music.

The First Talkie "BALAN"

 The First Talkie "BALAN"

Indian cinema had already entered the talkie age even before Marthandavarma was released. Balan, the first Malayalam cinema with a sound track was released in 1938. Produced by Tamilian, T R Sunderam at the Modern Theatres, Balan was directed by Notani. A melodramatic film, with more Tamil influence than Malayalam, Balan featured the struggle of two orphaned children, Balan and his younger sister, oppressed and exploited by their evil stepmother until they are rescued by a kindly lawyer. Even though this film could be considered irrelevant in artistic sense, its economic success created a base to the Malayalam film industry. Followed by the success of Balan, Jnambika was released in 1940. After Prahlada (1941), Kerala had to wait till 1948 for the next film. Nirmala (1948) directed by P J Cheriyan explored the possibility of music and songs in Malayalam cinema. Legendary Malayalam poet, G Shankara Kurup penned the lyrics for this film. Thus song-dance sequences be came an essential ingredient for commercial success in Malayalam cinema.

Inspired from an imported film - Life of Christ - Phalke started mentally visualising the images of Indian gods and goddesses. What really obsessed him was the desire to see Indian images on the screen in a purely Swadeshi venture. He fixed up a studio in Dadar Main Road, wrote the scenario, erected the set and started shooting for his first venture Raja Harishchandra in 1912. The first full-length story film of Phalke was completed in 1912 and released at the Coronation cinema on April 21, 1913, for special invitees and members of the Press. The film was widely acclaimed by one and all and proved to be a great success.

It is notable that none of the Malayalam films that came before the independence of India reflected the mood of the struggle for independence and also the film that came after independence and the early 1950s reflected that torrid period of Kerala, where the Communist upspring was taking place changing the entire social climate of the State. Cinema continued to be dramas happening in a totally artificial and alien world.

The Silent Era

HIde

The first Malayalam cinema was produced and directed by, J C Daniel, a dentistby profession who didn't had any prior experience with cinema. His film Vigathakumaran was released in 1928, but failed economically. But it is notable that while mythological films ruled all over the Indian cinema arena, J C Daniel had the courage to produce the first ever Malayalam film with a social theme. The economic failure of Vigathakumaran discouraged him from producing further films.

The ill luck of Malayalam cinema continued. The second film Marthandavarma based on a novel of the same name by C V Raman Pillai, was produced by Sunderraj in 1933. But due to a legal confrontation regarding the rights of the film, the producer had to withdraw the film from cinema halls after few exhibitions. Had it not been for the legal embargo, the film would have had a great impact on the cinema of South India. By Marthandavarma the history of silent Malayalam cinema too came to an end.