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**Eviftilia** · 06-10-2007, 02:58 AM

Sathyan the fore-runner of star-syndrome in Malayalam cinema started his career as a teacher. He then joined the army became a police officer afterwards and finally landed up in the silver screen.
His first film came out in 1950. He acted in 153 Malayalam films, and a few Tamil films. For more than a quarter century, he remained the very masculine, dark, hero, with rough manners and a shy smile that captivated the Malayali psyche.
Neelakuyil, was a land mark in the history of Malayalam cinema. There were signs to save Malayalam film from the traditional grip of theatre and Tamil filmdom. He introduced the characteristic ethnic Malayali hero, humane on one hand, and will all the weakness of ordinary human being on the other. In Chemmen he essayed the role of Pazhani-a lonely man with a turbulent soul.

Uthpal Dutt, on seeing Satyan’s performance in ANUBHAVANGAL PAALICHAKAL- remarked “in the face lined with the agony and threats of ordinary laborer …I could discern the great talent of Satyan portraying the inner chaos of an ordinary worker…”

NEELAKKUYIL (THE BLUE KOEL)
DIRECTION

BHASKARAN/RAMU KARYAT
CAMERA :-A VINCENT
MUISC :- A RAGHAVAN
CAST :- KUMARI, AMMINI AMMA, SATYAN
PRODUCTION:-CHNADRATHARA PICTURES
AWARDS:-THE PRESIDENT’S ALL INDIA CERTIFICATE OF MERIT FOR THE SECOND BEST FILM -1954
Neeli, a young Harijan girl is found dead, beside the railway tracks. Her illegitimate baby lies by her side. The baby is rescued and nurtured by a Nair Postman. Neeli was seduced by Sreedharan Nair, a high caste school teacher. The villagers were shocked by the gesture of the postman, a high class Hindu adopting the child of a Harijan. The real father, yearns to fondle his offspring and secretly looks after him, but lacks the courage to disclose the truth. The father and the son are eventually united when Sreedhara Menon, confesses his sin to his child less wife and to the foster father there by breaking the age old caste barrier in a conservative society.

CHEMMEN (THE SHRIMP)
DIRECTOR-RAMU KARYAT
CAMERA-MARQUES BARTLI, V RAJAGOPAL
EDITING HRISHIKESH MUKHERJEE
CAST KOTTARAKKARA, SATYAN, MADHU, SHEELA
AWARDS-PRESIDENT’S GOLD MEDAL

Champankunju (KOTTARAKKARA) is an arrogant ambitious fisherman. He longs to posses a boat of his own. He lends money from Pareekutty (MADHU) a young Muslim trader, on the condition that half of the catch would be sold to him.
Karuthamma daughter of Chanpankunju, falls in love with Pareekutty. She is forced to marry Palani, an orphan from a distant shore. She lives with her husband in a village. The father prospers in business and becomes ruthless. He cheats his friends, marries again when his wife dies, and ill treats his younger daughter Panchami.
Karuthamma leads a happy life but her affair with Pareekutty reaches Palani. Kartuhamma vows that she is pure.
One day Palani, goes fishing. Pareekutty and Karuthamma meet once again. The old love comes to life and they engage in an ecstatic embrace, defying the unbreakable code of chastity. Palani on the sea was baiting a dangerous shark. Kadalamma the Goddess of the Sea takes a terrible vengeance.
SYNOPISIS OF
ANUBHAVANGAL PAALICHAKAL,
MUDIYANAYA PUTRAN,
ODAYIL NINNU,
KADAL PAALAM AND ORU PENINDE KATHA FOLLOW.

06-10-2007, 02:58 AM	#6
Eviftilia Join Date Oct 2005 Posts 373 Senior Member	Sathyan the fore-runner of star-syndrome in Malayalam cinema started his career as a teacher. He then joined the army became a police officer afterwards and finally landed up in the silver screen. His first film came out in 1950. He acted in 153 Malayalam films, and a few Tamil films. For more than a quarter century, he remained the very masculine, dark, hero, with rough manners and a shy smile that captivated the Malayali psyche. Neelakuyil, was a land mark in the history of Malayalam cinema. There were signs to save Malayalam film from the traditional grip of theatre and Tamil filmdom. He introduced the characteristic ethnic Malayali hero, humane on one hand, and will all the weakness of ordinary human being on the other. In Chemmen he essayed the role of Pazhani-a lonely man with a turbulent soul. Uthpal Dutt, on seeing Satyan’s performance in ANUBHAVANGAL PAALICHAKAL- remarked “in the face lined with the agony and threats of ordinary laborer …I could discern the great talent of Satyan portraying the inner chaos of an ordinary worker…” NEELAKKUYIL (THE BLUE KOEL) DIRECTION BHASKARAN/RAMU KARYAT CAMERA :-A VINCENT MUISC :- A RAGHAVAN CAST :- KUMARI, AMMINI AMMA, SATYAN PRODUCTION:-CHNADRATHARA PICTURES AWARDS:-THE PRESIDENT’S ALL INDIA CERTIFICATE OF MERIT FOR THE SECOND BEST FILM -1954 Neeli, a young Harijan girl is found dead, beside the railway tracks. Her illegitimate baby lies by her side. The baby is rescued and nurtured by a Nair Postman. Neeli was seduced by Sreedharan Nair, a high caste school teacher. The villagers were shocked by the gesture of the postman, a high class Hindu adopting the child of a Harijan. The real father, yearns to fondle his offspring and secretly looks after him, but lacks the courage to disclose the truth. The father and the son are eventually united when Sreedhara Menon, confesses his sin to his child less wife and to the foster father there by breaking the age old caste barrier in a conservative society. CHEMMEN (THE SHRIMP) DIRECTOR-RAMU KARYAT CAMERA-MARQUES BARTLI, V RAJAGOPAL EDITING HRISHIKESH MUKHERJEE CAST KOTTARAKKARA, SATYAN, MADHU, SHEELA AWARDS-PRESIDENT’S GOLD MEDAL Champankunju (KOTTARAKKARA) is an arrogant ambitious fisherman. He longs to posses a boat of his own. He lends money from Pareekutty (MADHU) a young Muslim trader, on the condition that half of the catch would be sold to him. Karuthamma daughter of Chanpankunju, falls in love with Pareekutty. She is forced to marry Palani, an orphan from a distant shore. She lives with her husband in a village. The father prospers in business and becomes ruthless. He cheats his friends, marries again when his wife dies, and ill treats his younger daughter Panchami. Karuthamma leads a happy life but her affair with Pareekutty reaches Palani. Kartuhamma vows that she is pure. One day Palani, goes fishing. Pareekutty and Karuthamma meet once again. The old love comes to life and they engage in an ecstatic embrace, defying the unbreakable code of chastity. Palani on the sea was baiting a dangerous shark. Kadalamma the Goddess of the Sea takes a terrible vengeance. SYNOPISIS OF ANUBHAVANGAL PAALICHAKAL, MUDIYANAYA PUTRAN, ODAYIL NINNU, KADAL PAALAM AND ORU PENINDE KATHA FOLLOW.
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