ShodhKosh: Journal of Visual and Performing ArtsISSN (Online): 2582-7472
Re-presentation of Homosexuality on Screen: A Comparative Study of the Malayalam Films Moothon and Kaathal- The Core as Representatives of Cultural Transition Karthika Prajoth
1 1 PhD
Scholar, Department of English Language and Literature, Amrita Vishwa
Vidyapeetham, Kochi Campus, India 2 Assistant
Professor, Department of English Language and Literature, Amrita Vishwa
Vidyapeetham, Kochi Campus, India
1. INTRODUCTION The American
filmmaker Spike Lee has said that, film is a cultural
weapon that can change the world, highlighting the ability of this popular
media platform to serve as a catalyst in cultural shifts, thereby bringing in
cultural transitions all around the globe. Films portray the changing cultural
nuances, lifestyle, social, political and cultural norms and occupy a
substantial role in the formation of an individual’s identity, behaviour,
communication skills, belief systems and social expectations. This
transformative capacity of cinema is deeply analysed in this paper with respect
to the re-presentation of the gay protagonists selected for the study. The
traditional hero-type usually celebrated in Malayalam cinema is a
representative of the Alpha male with the characteristics of being charismatic,
machoistic, emotionally resilient and egoistic. Such stereotype heroes are an
epitome of anger, courage, confidence, assertiveness and physical strength and
they employ these traits to thrash down the other characters, from the wicked
villain to the submissive heroine. This conventional image of the Alpha male
has occupied the celluloid space over the years as representative of acceptable
male figures around us. It is in this context, the gay protagonists of
the films Moothon/The Elder One and Kaathal-The Core, Akbar and
Mathew Devassy, demand the rise of gender fluidity in the modern world.
Assimilating insights from Queer theory enables us to understand the queer
nature of these sexual minorities who live life like a dead carcass as it is
necessary to redefine their identity in the mainstream public space. A proper
and elaborate definition of the term queer is mandatory to comprehend the
concept of queer space around which the plots of the selected films revolve. Benshoff and Griffin, (2004, as cited in Pallivathukkal (2021)) stated “Queer Theory posits that sexuality is a vast and complex terrain that encompasses not just personal orientation and/or behavior, but also the social, cultural, and historical factors that define and create the conditions for orientations and behaviors. As such, queer theory rejects essentialist or biological notions of gender and sexuality and sees them instead as fluid and socially constructed positionalities. The term queer, once a pejorative epithet used to humiliate gay men and women, is now used by academics to describe the broad, fluid, and ever-changing expanse of human sexualities. Queer can be used to describe any sexuality not defined as heterosexual procreative monogamy (usually the presumed goal of most classical Hollywood couplings); queers are people (including heterosexuals) who do not organize their sexuality according to that rubric.” (p. 29) Coming out of the
closet is a traumatic experience in the life of gay individuals as the fear of
ostracization may at times force them to try to behave “normal”. In this
pursuit, most of them face extreme identity crisis as they find themselves
enmeshed in the quagmire of meaningless marriage associations, emotional havoc,
mental instability, suicidal thoughts and ultimately the unrepresentable pain
of negotiating one’s self beyond every other suffering Analysing the gay
heroes of the selected films with reference to Tacium’s review of Judith
Butler's concept of gender performativity, it is observed that the continuous
and forced acts of behaving like a straight, pressurises even the survival of
these so called ‘inferior’ sexual minorities. According to Butler, the notion
of gender is a construct of the society, where people (especially the queer
communities) struggle to meet the set standards of gender roles, fearing
getting pushed out from the mainstream. They are in a way, strained to become
or perform as another person to overcome the title of being an outcast, other
type, inferior, etc. Tacium (1993) Kaathal-The
Core (2023), Moothon
(2020), Mumbai Police (2013, Sancharram (The Journey, 2004,
Deshadanakili Karayarilla (Migratory Bird Never Cries,1986), Randu Penkuttikal (Two Girls,
1978) etc are quintessential depictions of homosexual narratives in Malayalam
cinema. In Moothon,
when Akbar meets his partner Ameer, a mute, with whom he develops a philial
connection, the former fears being exposed as a gay and flees to Mumbai to
escape the burden of being noticed as the other type. In the opening scenes of
the film, Akbar is addressed as 'Bhai', a brawny male villain dealing with
child trafficking and drugs, thereby camouflaging his original self. In Kaathal-The
Core, the plot revolves around Mathew's struggle to hide his homosexuality
and his wife's fight to reveal the same to the public, by filing a divorce
petition to regain the lost sense of freedom from their lives. Both the heroes
are representatives of the homosexual community and the reciprocation which
they have received from the people around. The trauma of revealing his original
self, pushed Akbar, the elder one of his family, to escape to Mumbai after
learning about the suicide of his lover Amir, as an outcome of a forced
marriage with another girl. On the other hand, Mathew from Kaathal-The Core,
feared how his daughter Femy and the society would react to his love
relationship with Thankan, a local driving teacher, and tried really hard to perform his straight fullness even in front
of the legal system. This paper discusses the trauma experienced by the
homosexuals in revealing their original sexuality and the society's take on
these relevant incidents by bringing into focus, the other characters who voice
distinguishing comments, thereby reflecting the varying shades of the
traditional Malayalee community. Sedgwick (1990) 2. SIGNIFICANCE OF THE STUDY A detailed
qualitative analysis of the gay heroes as portrayed in the films Moothon
and Kaathal-The Core, gives us a clear picture about the endless spiral
of mental conflicts thrust upon them by our society, while expressing their
inner selves. A comprehensive comparative analysis of these
films, exposes two divergent perspectives in comprehending Homosexuality
and enables us to move beyond the set constraints of the gendered society.
Also, this study explores concepts such as sexual minority, gender fluidity,
inclusivity and homosocial society, thereby promoting an iconoclastic
perspective on gay communities. This paper brings into the limelight the tragic
outcomes of the homophobic society and how these gendered structures perforate
through the queer communities, making them vulnerable, sidelined, and
non-worthy of existing according to their desires. 3. METHODOLOGY AND THEORETICAL FRAMEWORK This paper
employs an in-depth comparative study of the gay protagonists as represented in
the Malayalam films Moothon and Kaathal-The Core, by using the
concept of ‘Homosociality’ popularized by Eve Kosofsky Sedgwick as it is
necessary to incorporate their inclusivity in the mainstream society. Hammarén & Johansson (2014), p.1 This study
attempts to accentuate the need to establish a homosocial society, where love
is not measured and accepted on the basis of gender
structures, where everyone can live life in their own terms and choose their
partners irrespective of their sexual orientations. Sedgewick's The
Epistemology of the Closet is used as a pivotal base to learn about the
hidden nature of their sexuality, the trauma behind revealing their sexual
orientation to the public and the burden of performing gender as required by the
traditional societal structures. Michel Foucault’s concept of Heterotopia
mentioned in Of Other Spaces: Utopias and Heterotopias is also
incorporated in the study of these films. 4. ANALYSIS Gayle S. Rubin, a
prominent American cultural activist renowned for her pioneering contributions
to queer studies, delves into the complexities of sexual diversity in her
seminal essay Thinking Sex. She elucidates the challenges individuals
face in embracing diverse sexual expressions, noting the pervasive stigma
surrounding sexual behaviours. Rubin contends that sexuality has historically
been a source of conflict, and unless a more inclusive perspective is adopted,
this discord will persist. Her essay lays the groundwork for engaging
discussions on the intricacies of sexual behaviour, inviting exploration into
areas that society may have hesitated to broach. Gayle Rubin's discourse
challenges the notion of a standardised norm governing sexual preferences,
advocating for the recognition of sexual diversity. She underscores the
difficulty in comprehending the wide spectrum of sexual preferences,
acknowledging the subjective nature of attraction where what one person finds
appealing may be unappealing to another. Rubin contests the idea of imposing a
universal standard of sexual preferences, emphasizing the individuality and
variability of sexual desires. She emphasizes the significance of embracing and
embracing this diversity while refuting the notion that differing preferences
reflect intelligence, mental well-being, or refinement. In essence, Rubin's
perspective underscores the multifaceted and intricate nature of human
sexuality, promoting an inclusive and nonjudgmental stance towards
understanding and valuing diverse sexual expressions. Rubin (n.d.) Tracking back,
Queer theory originates from the examination of sexuality in both private and
public spheres, tracing back to the nineteenth century when it was initially
used to describe homosexuals. It encompasses a non-conforming stance towards
gender and sexuality, imbuing the term "queer" with nuanced
connotations. Emerging from post-structuralist and feminist ideologies, queer
theory challenges conventional definitions of gender and sexuality, questioning
established binaries and advocating for diversity and fluidity in these
domains. Its critical framework extends to scrutinising power dynamics,
cultural norms, and discourses that marginalise non-conforming identities,
aiming to foster social justice and tolerance. As a vital component of
contemporary discourse, queer theory engages with issues of intersectionality,
identity politics, and the ongoing struggle for LGBTQ+ rights and recognition.
It delves into how societal norms construct and enforce notions of
heterosexuality, homosexuality, gender, and sexual identities while
interrogating normativity rooted in these constructs. Thiel (2018) The traditional
narrative cinema usually employs queer roles as sidekick characters or laughing
stocks, ridiculing their existence in a homophobic society. The Malayalam film
industry, with its ever-revolutionary directors coming to the forefront with appealing
and progressive thoughts regarding Homosexuality, is an achievement
unexplainable through words. Representatives of the changing Malayalam cinema,
Geetu Mohandas's Moothon and Jeo Baby's Kaathal- The Core
have broken the traditional heterosexual hero image and brought in a realistic
picturisation of a homosexual man falling in love with another man of his
choice. The otherness experienced by the protagonists of these films can be
deeply analysed on the basis of the concept
‘Heterotopia’ propounded by Michel Foucault. Foucault says Heterotopias are
specific discursive, institutional, and cultural settings that are in some way
‘other’: intense, upsetting, incompatible, transformative, or contradictory.
Heterotopias are universes inside universes that both reflect and disturb the
outside world. First there are the utopias. Utopias are
sites with no real place. They are sites that have a general relation of direct
or inverted analogy with the real space of Society. They present society itself
in a perfected form, or else society turned upside down, but
in any case these utopias are fundamentally unreal spaces. There are
also, probably in every culture, in every civilization, real places—places that
do exist and that are formed in the very founding of society—which are
something like counter-sites, a kind of effectively enacted utopia in which the
real sites, all the other real sites that can be found within the culture, are
simultaneously represented, contested, and inverted. Places of this kind are
outside of all places, even though it may be possible to indicate their location in reality. Because these places are absolutely different from all the sites that they reflect
and speak about, I shall call them, by way of contrast to utopias,
heterotopias. I believe that between utopias and these quite other sites, these
heterotopias, there might be a sort of mixed, joint experience, which would be
the mirror. The mirror is, after all, a utopia, since it is a placeless place.
In the mirror, I see myself there where I am not, in an unreal, virtual space that
opens up behind the surface; I am over there, there
where I am not, a sort of shadow that gives my own visibility to myself, that
enables me to see myself there where I am absent: such is the utopia of the
mirror. But it is also a heterotopia in so far as the mirror does exist in reality, where it exerts a sort of counteraction on
the position that I occupy. From the standpoint of the mirror
I discover my absence from the place where I am since I see myself over there.
Starting from this gaze that is, as it were, directed toward me, from the
ground of this virtual space that is on the other side of the glass, I come
back toward myself; I begin again to direct my eyes toward myself and to
reconstitute myself there where I am. The mirror functions as a heterotopia in
this respect: it makes this place that I occupy at the moment
when I look at myself in the glass at once absolutely real, connected with all
the space that surrounds it, and absolutely unreal, since in order to be
perceived it has to pass through this virtual point which is over there. Foucault (1984), p. 3-4 This paper
attempts to delineate the similarities and differences in both the films with
respect to the representation of Homosexuality on screen. 5. Similarities Both the films, Moothon and Kaathal – The Core
bring into focus homosexual heroes, Akbar, and Mathew, respectively, who are
fully aware of their sexual orientation and desires. Both of them often fall
prey to the traditionally repeated image of a heterosexual man, engaging in a
binary relationship with someone from the opposite sex, echoing the society's
take on heterosexuality as the most assenting and acceptable form of a
relationship. Both the directors have pictured the intense companionship
between both the gay partners without any scene of vulgarity and erotic
gestures. Both the homosexuals undergo existential trauma, and in a way try to
escape them by performing the prescribed gender acts of the society. Akbar is
unable to move to Mumbai according to his love, Ameer's wish, and finally had
to flee from the island, surrendering his own identity, after learning about
the latter's suicide. In Mumbai, Akbar compromises his gay self and takes up a
new identity of a goon named Bhai and performs extremely stereotyped masculine
actions by being aggressive, impudent and indulges in drug dealing and
trafficking. Akbar's romantic side is kept silent, as the plot develops in
Mumbai. Mohandas (2019). Mathew from Kaathal- The Core, also succumbs to the societal encumbrances, marries a woman named Omana and even has a daughter in this wedlock. Mathew himself claims to be a heterosexual and silently neglects his inner desires when surrounded by the public. Both the homosexuals lead a discontented life as an outcome of their suppressed desires and try to perform certain prescribed gender roles as instructed by the societal structures. Moreover, these
heroes avoid their gay companions in the public, fearing the judgements and
harassments that may cascade on them. The intense struggle of coming out from
the closet is deeply felt by both Akbar and Mathew and the people around them
take the privilege of making their life decisions by neglecting their personal
desires. The trauma of crushing down their desires keeps mounting over both
their bodies and these protagonists live in a world of memories. The memories
of their partners, of the lovely moments spent together, their urge to unite,
their dreams of living together, fanciful thoughts about a homosocial society,
etc. all appear to be a traumatic experience when reality hits hard on their
faces. 6. Dissimilarities The primary
difference between the films Moothon and Kaathal-The Core is that, the former highlights a dystopian perspective in
addressing the life of homosexuals, whereas the latter unleashes a utopian
perspective regarding the subject matter. Akbar, from Moothon, had the
privilege of escaping to Mumbai, without marrying a woman out of societal
pressures. But, to lead a life in Mumbai, he had to repress his original gay
self and perform the prescribed gender role of a male macho to gain acceptance
from the outside world. Mohandas (2019) On the other
hand, Mathew from Kaathal-The Core, was forced to get married to Omana,
by his father Devassy. Devassy is a
representative of the homophobic society and he claims
that everything will be sorted if Mathew is engaged in a conjugal bond with a
woman. In the climax scene, an intense emotional outburst between Mathew and
his father is exposed through the former's dialogue, “You were also
there when the doctor talked about my homosexuality right? What did you say then? Everything will be
alright if I get married. Is everything alright now?” Baby (2023), 1:36:16 Akbar had the
advantage of making decisions in his life, whereas Mathew's life decisions were
taken by his father, neglecting Mathew’s consent. After the death of his
partner Ameer, Akbar lives an emotionally isolated life, with no one around to
understand his mental state and reciprocate his feelings. Moreover, he fails to
get someone who could help him come out of the closet and expose his gay self.
In this context, Mathew happens to be fortunate enough to have Omana as his
wife, who completely realised the gay nature of her husband and filed a mutual
divorce petition, as a means of acquiring freedom, for both their emotional and
physical well-being. Omana epitomizes the modern rational woman, ready to
accept people, irrespective of their sexual orientations. She even educates
their daughter Femy, regarding the concept of homosexuality as a
completely normal and acceptable form of a relationship. Moreover, without
injecting any kind of vengeance towards her father, for failing to bring
happiness in their wedlock and for indulging in an unusual relationship with
Thankan, Omana has strikingly brought into the limelight, the necessity of
accepting and including these sexual minorities in the mainstream society. In
one of the court scenes, she exclaims ‘I demanded for a child and brought her
into existence’, reflecting her unfulfilled marital desires. Baby (2023), 1:07:39 Omana is
portrayed as a representative of the changing progressive world, and works for
gathering votes for Mathew, who was contesting in the Local Village Body
Elections. Mathew finally wins the election, which marks the acceptance of a
Gay individual as a political leader in a normal society. Praveen (2023) In Akbar's case,
his partner Ameer compromised their relationship by killing himself, fearing
the life he would have to spend with a woman and the forthcoming societal
judgements. In Mathew's life, Omana took the firm decision to revolt after
twenty years of wedlock and was not ready to surrender to the preferred
societal framework of heralding heteronormativity as the most superior form of
human relationships. Also, Omana wanted both of them
to lead a life of dignity and enjoy individual freedom. There is an intensely
heart-warming scene in the film, where Omana and Mathew hug each other and
scream their hearts out before the day of their divorce, when Omana finally
asks Mathew to sleep beside her for one last time. Mathew's innate guilt for
not satisfying Omana's physical desires and the burden of his hidden sexuality
gets poured out when he cries out loud exclaiming 'Oh, My God!!!’ Baby (2023), 1:41:00 Another major
difference between the films is that Akbar gets shot to death in the climax,
where he ends up in a spiral, searching for his sister Mulla. In Kaathal,
Mathew finally gets reunited with Thankan, and the film ends where both of them go for a journey together, symbolising their
journey of life together. The point is that Akbar failed to live his life as a
gay, whereas Mathew came out as a gay in his life with the support of Omana, and decided to live life in his own terms. 7. CONCLUSION The trajectory of
homosexuality encompasses profound themes of acceptance, self-discovery, and
societal progress. The act of coming out represents a courageous and sincere
personal journey that confronts societal norms, fostering increased acceptance
and comprehension. Despite ongoing efforts needed to achieve full inclusion and
respect, substantial strides have been made in advancing equality for LGBTQ+
individuals through advocacy and representation. The ongoing dialogue regarding
homosexuality reflects an evolving process of change, emphasizing the
importance of advocacy, education, and empathy in cultivating a more equitable
and inclusive society for everyone. This research
endeavour seeks to investigate the evolving inclusive environments known as
queer spaces, which serve as safe havens for queer individuals, particularly
within gay communities, to express themselves authentically without fear of
discrimination or bias. Through a comparative examination of the films Moothon
and Kaathal- The Core, these works offer a realistic depiction of the
challenges faced by the homosexual community, while also serving as catalysts
for providing support, visibility, and empowerment to these marginalized
groups. The emergence of homosocial societies, wherein social interactions
among individuals of the same gender are normalized, contributes to a
heightened visibility of protagonists like Akbar and Mathew, who serve as representatives of
a larger, marginalized community. Furthermore, the establishment of queer
spaces as centres for activism and cultural expression promotes
open-mindedness, empathy, and a broader perspective that values love,
authenticity, and individual liberty. This paper also delves into the depiction of gay protagonists Mathew and Akbar, highlighting a narrative that values inclusivity and acceptance. These characters, departing from the conventional heterosexual hero archetype, offer empathetic portrayals that resonate widely. Through their challenges and victories, these heroes not only reflect the changing cultural attitudes toward homosexuality but also contribute to reshaping popular culture perceptions. A comparative analysis of these two films—one presenting an optimistic portrayal and the other a pessimistic view of homosexuality—illuminates the evolving societal outlook and underscores the significance of film studies in fostering global conversations. By spotlighting the experiences of these compassionate heroes, films serve as platforms for questioning norms, nurturing empathy, and cultivating a more inclusive and empathetic society.
CONFLICT OF INTERESTS None. ACKNOWLEDGMENTS None. REFERENCES Baby, J. (2023). Kaathal- The Core [Film]. Mammootty Kampany. Foucault, M. (1984). Of Other Spaces: Utopias and Heterotopias (J. Miskowiec, Trans.). Architecture/Mouvement/Continuité. Hammarén, N., & Johansson, T. (2014). Homosociality: In Between Power and Intimacy. SAGE Open, 4(1). https://doi.org/10.1177/2158244013518057 Mohandas, G. (2019). Moothon [Film]. JAR Pictures. Pallivathukkal, M. B. (2021). “Queering Film: Intersectional Performativity of Art and the Performing Bodies in Moothon” [Research Paper]. Journal of Research in Humanities and Social Science, 9(1), 29–33. Rubin, G. S. (n.d.). “Thinking Sex: Notes for a Radical Theory of the Politics of Sexuality. In the Sex Wars, 143. Sedgwick, E. K. (1990). The Epistemology of the Closet. University of California Press. Tacium, D. (1993). Review of Gender Trouble: Feminism and the Subversion of Identity, by J. Butler. Surfaces, 3. https://doi.org/10.7202/1065107ar Thiel, M. (2018, August 5). Introducing Queer Theory in International Relations. E- International Relations.
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