Review of the Malayalam film Bheemante Vazhi: Is Sex a Promise or a Pleasure Act?
Bheemante
Vazhi, a 2021 Malayalam film directed by Ashraf Hamza, was one of the year's
many underappreciated Malayalam films. The movie contains a lot of progressive
and important-to-reflect components, particularly those involving women. The
movie critics missed them as well in terms of politics.
The
plot of the film centres on the inhabitants' efforts, led by Sanjeev (Kunchako
Boban, who plays the titular role), to extend their tiny lane in order to
reduce their regular challenges during emergencies. The procedure calls for the
inhabitants' full participation and their final stand-off with the wealthy
landowner, Oothampilly Kosepp (played by Jinu Joseph).
The
setting gives off the impression of being a utopia in many ways, and Sanjeev's
character, who drives the plot, illuminates this. Sanjeev is a well-known young
man in the community. Everyone who lives there is aware of and respectful of
him. The local councilwoman, Reetha, uses this attention to push for the
construction of the road, enhancing her political profile and increasing her
prospects of winning the impending election.
Sanjeev,
an unmarried man, takes pleasure in his sexuality without feeling anything.
Prior to her marriage, he has a sexual encounter with his neighbour, a young
woman named Blessy Paul (played by Vincy Aloshious). Despite the long-lasting
connection, Sanjeev does not show Blessy the same affection that she grows to
adore for him. She knows he doesn't feel anything for her and moves on without
bothering him. For the first time in his life, he is saddened by Blessy's showy
clothes. He agrees with his buddy Maharshi, who describes Sanjeev as
"hollow," those women are diplomatic in their interactions with
potential sexual partners.
Later,
Sanjeev and Kinnari, a railway engineer, establish a friendly relationship. She
grows fond of him, but Sanjeev ends their relationship when he realises it.
Until he observes a widow named Anju fighting Koepp, Sanjeev appears to be
different in how he manages his feelings toward women. Sanjeev experiences an
epiphany because he may be witnessing a woman battling and outnumbering a man
for the first time.
Anju,
who was seen as a meek and submissive woman who cared for her mother-in-law
after her husband's death, was never attractive to Sanjeev prior to this
incident. The story's twist is provided by Anju, who was purposefully hidden
from the public eye until the very end and then appears as a much bolder character.
Sanjeev, who had a thing for young girls, is instantly enthralled by this
sight.
The
script writer uses very subtle verbal and nonverbal cues to physically disguise
Anju throughout the film. She was specifically picked to be a typical middle-aged,
obese woman with no unusual characteristics outside her karate lessons. This is
done to purposefully distance her from the other characters and to emphasise
the idea that love and marriage can also occur in an abstract setting where
only morality and individual strength matter. To illustrate this point, Anju is
purposefully contrasted throughout the film with Kinnari, who is youthful,
seductive, and single.
The
movie also explicitly answers the topic, "Is sex a promise?" For
instance, Blessy and Sanjeev's relationship was one that both parties relished
as a natural part of life. Blessy wishes for more but acknowledges that he is
unable to give her what she desires. Blessy abandons him as a result and
marries her lover.
Blessy
and Sanjeev continue to be friends and show each other respect. Similar to
this, Kinnari realises this as well, yet she sadly separates from Sanjeev.
Kinnari views sex as a lifetime or marital commitment. Through his personality,
Sanjeev tries to teach her to do things the other way around.
Numerous
romantic relationships may not lead to marriage or to any other type of
relationship. As a result, the screenwriter only views sexual activity as a
means of enjoyment rather than as a permanent commitment.
The
question of whether sex constitutes a lifetime commitment is also explored
further in the film. The much-lauded Malayalam film Myaanadhi had the first
apparent discussion of the topic (2017). The titular character of Aparna
(played by Aishwarya Lekshmi) in the aforementioned film steadfastly pursues
her dream of becoming an actress, even if it means breaking off her
relationship with her boyfriend. In that passage, she compares sex to a way of
expressing affection and loves free from social restraints.
The
same concept is conveyed to the female characters in Bheemante Vazhi by the
male character Sanjeev. While Kinnari, a modern girl in view, accepts this
reality and moves on, Kinnari becomes upset upon hearing this from Sanjeev.
However, she later comes to terms with it and makes an effort to go on.
Another
ignored aspect that is never brought up at all is that the movie challenges the
notions of virginity through its depiction of unrestricted sex. Only the
character's potential and personal independence are emphasised. This is demonstrated
in the movie's finale when Sanjeev marries Anju, a typical widow. Here, Sanjeev
is more intrigued by the actions of the character Anju as a person than by her
appearance or sexual orientation. As a result, the film establishes a new base
for the Malayalam audience. This one is about potential and humanity rather
than authority and control.
Another
crucial component of this film is the female characters. The film readily
offers strong, intelligent, independent women who can maintain themselves without
the need for male assistance. These include Anju, Reetha, and the lawyer's
persona, among others. Despite having an excellent job, Blessy consults Sanjeev
in the opening scene to get into the MSW programme.
When
Sanjeev asks her why she is applying for a new position, she responds, "I
want to serve the word." Not only Sanjeev but even the crowd, are taken
aback by this. It's remarkable to see a successful lady go above and beyond to
help the greater good. Like many other sequences in the film, this one may have
passed unnoticed by a male critic as an unremarkable component of the opening
scene. But the implications it presents are much more focused on the unseen
work that women do in society to keep things operating smoothly.
Reetha
is a prominent character because she skillfully employs persuasion and other
strategies to further her agenda (or she conveniently uses her feminity as a
skill). She likes to drink and hang around with males. This film aims to
shatter the glass ceiling of “female interests” in the Malayalam film industry,
which is still not free to show such female characters. It aims to portray
women as they are, rather than enclosing them in the patriarchal social
structure.
They
aim to emphasise individual independence, which is something we all lack in our
society to differing degrees, with these characters. Regardless of one's
decisions in life, one is free to pursue one's sexual freedom and to continue
and preserve the same reputation as before.
As
was previously stated, the film is essentially set in a utopian country where
these people have complete freedom to act however, they like without much
societal criticism. As a result, it obviously mocks our society, which is based
on unseen yet powerful ideological principles rather than free choices such as
surveillance, shame, and suppression.
The
title also alludes to the way the main character, Sanjeev, gives up his
internal struggles in order to accept his emotions, much to how a wider lane
increases the options that are available.