Renowned Tamil and Malayalam author, B Jeyamohan, has expressed strong criticism towards the Malayalam film “Manjummel Boys,” a survival thriller penned and directed by Chidambaram. The movie features a diverse cast, including Soubin Shahir, Sreenath Bhasi, Balu Varghese, Ganapathi S. Poduval, Lal Jr., Deepak Parambol, Abhiram Radhakrishnan, Arun Kurian, Khalid Rahman, Chandu Salimkumar, and Vishnu Reghu.
Centered around a true incident from 2006, the storyline follows a group of friends from the small town of Manjummel near Kochi who embark on a vacation in Kodaikanal, Tamil Nadu, explore the forbidden Guna Cave, where one falls into a covered hole. Initially presumed a prank, it turns serious, and locals reveal the pit’s history of 13 unrecovered falls. Despite police reluctance, the friends insist on rescue, leading to a risky operation where one friend, Siju, bravely descends, ultimately saving the friend Subhash, who fell into the hole. The incident remains a secret, but Siju’s heroism is later revealed, earning him praise and a medal.
On 9 March 2024, in a passionate critique posted on his official website www.jeyamohan.in, B Jeyamohan expressed his discontent and disapproval of the Malayalam film “Manjummel Boys.” He criticized the film for receiving what he perceived as excessive praise from media outlets, accusing them of labeling numerous films as classics without deserving such acclaim. Jeyamohan specifically addressed the film’s depiction of a perilous and heroic incident, casting doubt on its authenticity and implying that it resembled a contrived climax presented as realism.
Delving into a broader reflection on the nature of films as a form of entertainment, Jeyamohan scrutinized the public’s engagement with cinematic discussions, lamenting the lack of intellectual depth. His concerns extended to the influence of cinema on society, emphasizing issues such as the disruptive conduct of Kerala tourists, the normalization of drug addiction in cinematic narratives, and the glorification of disruptive characters in “Manjummel Boys.” Jeyamohan underscored the adverse environmental impact of such behavior, including harm to tourist attractions and wildlife.
“Manjummel Boys” proved to be a vexing film for me since its portrayal is not fictional. This mindset is commonly observed among Kerala tourists visiting various destinations in the South, extending beyond tourist spots to jungles. Their primary focus is on getting drunk, leading to behaviors such as vomiting, retching, falling, and trespassing, displaying a lack of interest in anything else and a dearth of basic knowledge and general civility.
Jeyamohan recounted his experience stating, “On numerous occasions in Ooty, Kodaikanal, and Courtalam, I have witnessed these intoxicated Malayali individuals engaging in road rage, with both sides of their vehicles adorned with vomit, as depicted in the film. After consuming alcohol, they discard the bottles and break it, a phenomenon evident on roads like Sengottai – Courtalam or Kudallur – Ooty, proudly showcased in the movie. There have been frequent confrontations with them. During a visit to the Vagaman lawn, Senthilkumar, a lawyer from the Madras High Court accompanying us, collected and disposed of the bottles thrown by these individuals. Annually, at least twenty elephants succumb to foot rot caused by these bottles, a matter I passionately addressed in “The Elephant Doctor,” a work that has achieved significant sales in Malayalam. However, it seems improbable that the director of this film has acquainted themselves with its contents.”
“These Malayalam individuals display a lack of proficiency in other languages, responding exclusively in Malayalam. Yet, they insist on the expectation that others should comprehend their language. The film accurately depicts their treatment by the Tamil Nadu police, showcasing their comprehension limited to physical force, devoid of any meaningful understanding.”
Expressing his frustration with the apparent lack of awareness among filmmakers, Jeyamohan called for government intervention to counteract detrimental trends within the cinematic landscape. Ultimately, he urged law enforcement to treat disruptive individuals as criminals, discouraging public support. Jeyamohan suggested that the unfortunate predicaments faced by such individuals could serve as a natural consequence, contributing to the safeguarding of natural environments.
The following passage is a excerpt from Writer Jeyamohan’s official website where he shares his critical insights titled “Manjummel Boys – A drunkard’s rant“: “I refrain from critiquing contemporary cinema and avoid commentary, as I am a part of it. Cinema, to me, is neither art nor propaganda but purely a business venture. This business norm dictates that one entrepreneur should not undermine the interests of another. This perspective aligns with an internal principle.
However, after viewing the Malayalam film “Manjummel Boys” amidst accolades and excitement, I couldn’t help but notice the excessive adulation showered upon Malayalam cinema, especially by certain media outlets. Every film is hailed as a classic without deserving such praise, often turning out to be mundane imitations that fail to captivate a diverse audience.
If “Manjummel Boys” had been a Tamil production, one might question the exaggerated risk and heroism portrayed in Tamil newspapers, which seems unknown to the locals in Kerala. The film depicts a moment where a man risks his life for another, creating an atmosphere of suspense. Yet, the reality of such an incident and its coverage is questionable, resembling a climactic fabrication presented as realism.
In essence, all films are amalgamations of elements meant for entertainment. Here, the masses, devoid of even a rudimentary intellectual introduction, engage solely in cinematic discussions, masquerading as intellectual pursuits. They consume what is presented to them and coexist within their destiny, fueled by their pocket money, a source of my concern.
“Manjummel Boys” irked me, not for its fictional elements but for mirroring a mindset prevalent among Kerala tourists who infiltrate tourist spots across the South. The film portrays a disturbing pattern of drunken behavior, vomiting, trespassing, and a lack of basic knowledge or civility. This depiction resonates with the unfortunate reality of drunk Malayalis engaging in road rage incidents in areas like Ooty, Kodaikanal, and Courtalam.
My experiences include witnessing these intoxicated individuals causing havoc, leading to broken roads and the tragic deaths of at least twenty elephants annually due to discarded bottles. Despite my efforts, as highlighted in “The Elephant Doctor,” the film’s director appears oblivious to the consequences of such behaviors.
These Malayali individuals, often oblivious to languages other than Malayalam, exhibit a sense of entitlement, showcased realistically in the film through their interactions with Tamil Nadu police. Attending weddings in Kerala has become a challenging ordeal, with two distinct types of Malayalis – those who toiled abroad and those who exploit domestic drinkers. These inebriated groups disrupt weddings with their unruly behavior, even resorting to vomiting during ceremonies.
Tamil Nadu seems to be heading towards Kerala’s norm, wherein cinema normalizes drug addiction and vices while portraying law-abiding citizens as benefactors. Kerala cinema consistently depicts joy through drinking, fighting, rioting, and vomiting, presenting a skewed perception of reality. In other words, the protagonist of today’s Malayalam cinema are the ones whom a Tamil hero saves the common man from.
The root of this cinematic trend lies in a small group of drug addicts in Ernakulam, perpetuating alcoholism and worse addictions day and night. Malayalam cinema, once celebrated for naturalistic works of art, has now veered towards centralizing such themes. Government intervention is imperative to counteract the influence of filmmakers glorifying drug addiction.
Those who celebrate these drug addiction movies in Tamil Nadu are likened to scoundrels, as commercial cinema, devoid of artistic attributes, directly addresses the uneducated masses. Granting artistic freedom to such cinema will only impoverish and degenerate the masses who lack intellectual resistance.
While these mobs degrade tourist attractions, their intrusion into thick forests poses a greater threat. Ignoring laws and warnings, they engage in destructive activities, endangering wildlife and ecosystems. May is particularly perilous, as discarded beedi cigarettes in dry Tamil Nadu forests lead to fires and loss of life.
Resorts in Kerala are fraught with danger, with horrifying experiences shared by many. “Manjummel Boys” not only justifies these disruptive individuals as representatives of the common man but also glorifies them, attempting to label them as martyrs and embodiments of friendship. The film’s conclusion, with one of them receiving a national award, contradicts legal norms and suggests a need for corrective measures.
If “Manjummel Boys” serves to raise awareness about these disruptive gangs in Tamil Nadu and Karnataka, it may encourage law enforcement to treat them unequivocally as criminals and discourage any form of support. Sometimes, their unfortunate predicaments may serve as a natural consequence, providing a deterrent and safeguarding our forests.”
Writer B Jayamohan
Bahuleyan Jayamohan, born into a Malayali Nair family in Nagercoil, Tamil Nadu, is a prominent Indian writer and literary critic proficient in both Tamil and Malayalam. He is widely recognized for his significant contributions to literature, with notable works such as “Vishnupuram,” a fantasy masterpiece exploring Indian philosophy and mythology, and “Venmurasu,” a modern retelling of the Mahabharata, earning him the distinction of creating the world’s longest novel. His repertoire includes well-known novels like “Rubber,” “Pin Thodarum Nizhalin Kural,” and “Kotravai.” Influenced by humanitarian thinkers Tolstoy and Gandhi, Jeyamohan draws on his extensive travels and life experiences to reexamine and interpret India’s rich literary and classical traditions.
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