In “Kaathal – The Core,” Malayalam film director Jeo Baby crafts a nuanced portrayal of South Asian conservative family structures and the transformative impact of evolving legal and social norms. Set against the backdrop of India’s journey from an era of harsh legal penalties for homosexuality to a more progressive present, the film captures the tension between traditional expectations and personal authenticity with remarkable sensitivity.
The narrative is anchored in a period of significant social change, skillfully illustrating the complexities of personal identity within a shifting legal framework. The film’s deft manipulation of time and space underscores the precarious balance between societal pressures and individual truths, marking “Kaathal” as a crucial entry in the canon of Indian queer cinema. It not only reflects the changing attitudes of Indian law towards homosexuality but also embodies the broader cultural evolution towards acceptance.
Starring Mammootty and Jyotika, “Kaathal – The Core” is lauded for its compelling performances and thought-provoking exploration of themes such as homosexuality, legal reform, and unrequited love. The film opens with a poignant church scene that introduces us to central characters including Omna, Matthew, and Omna’s father-in-law. Matthew, portrayed with depth and nuance by Mammootty, emerges as a mediator in a familial dispute driven by class divides. His empathetic approach to resolving the conflict between the lovers, despite initial resistance from the daughter’s father, underscores his dedication to challenging societal norms and fostering inclusivity.
In its depiction of the entrenched conservatism within societal attitudes, “Kaathal – The Core” also highlights Matthew’s role as a progressive force, advocating for a more understanding and compassionate approach to relationships and identity. The film’s reflective engagement with these themes has earned it high praise from leading Indian critics, solidifying its place as a seminal work in contemporary Indian cinema.
The film intricately explores the rigid conservatism entrenched within society, while simultaneously celebrating Matthew’s progressive ideals and his steadfast commitment to justice. This duality is masterfully portrayed through a nuanced and sympathetic lens, offering a profound commentary on societal norms and personal conviction.
In the narrative, Mathew Devasi, brought to life by Mammootty (Muhammad Kutty Panaparambil Ismail), and his wife Omana, portrayed by Jyothika Saravanan, face a seismic shift in their lives. Despite their long-standing marriage, Omana seeks a divorce—not out of financial necessity, but in pursuit of personal liberation. The divorce proceedings unveil a hidden facet of Matthew’s life: his concealed homosexuality, which becomes the pivotal force driving their separation. The film poignantly captures Omana’s resilience while also illuminating the power dynamics and social hierarchies at play, offering a rich examination of their intricate relationship.
As the storyline unfolds, Matthew’s public image is put under intense scrutiny, particularly as his political party nominates him for an impending election, driven by his widespread popularity. However, the exposure of his private life threatens to derail his political aspirations, adding a compelling layer of conflict. Matthew emerges as a complex, multi-dimensional character whose moral ambiguity challenges the audience’s notions of right and wrong, inviting a deep and reflective engagement with his journey.
Kaathal’s dramatic core lies in the nuanced interplay between character dynamics, their actions within scenes, and the spatial relationships known as the “character motif.” This intricate interplay masterfully builds suspense, drawing the audience into the emotional labyrinth of the film. The director employs a distinctive cinematic approach, manipulating camera angles to unveil profound psychological insights into the characters. This technique not only enhances the viewer’s understanding of the characters’ mental landscapes but also accentuates pivotal dramatic moments.
Conversely, the film also delves into themes of social hierarchy. Take, for instance, Thankan (played by Sudhi Kozhikode), the presumed lover of Mathew. Alongside his adoptive driver and the driver’s child, Thankan encounters societal scorn and violence. Despite pervasive rumors about Mathew’s affluent background, he remains insulated from direct hostility. This subtle portrayal reflects a broader commentary on the privileged class’s tendency to obscure their true identities within a “comfortable closet,” exploiting marginalized groups’ vulnerabilities to navigate societal conflicts and sustain their status.
To truly grasp the intricate dynamics at play, one must first delve into the societal pressures confronting LGBTQIA+ individuals in South Asia, even where their identities are officially recognized. As a queer advocate in Bangladesh, I have witnessed the multifaceted expectations and deep-seated reservations surrounding this community. A recent dialogue with a Bangladeshi expatriate, a gay man now residing in America, brought these tensions into sharp relief. Despite his candid embrace of his sexuality, he expressed a yearning for the perceived security offered by a heterosexual marriage, hoping for stability as he ages. This poignant anecdote underscores a pervasive dilemma within marginalized sexual communities: even in ostensibly more accepting environments like America, there remains a compelling gravitational pull towards traditional heterosexual norms, often viewed as a source of ‘Unwavering family ties’ in later years. This thematic struggle echoes through the character of Matthew in Kaathal, who wrestles with similar conflicts and evolving perspectives.
Kaathal: the core – emerges as a film of remarkable depth and sophistication, diverging from the melodramatic tropes that often dominate Indian cinema. It offers a refreshing and incisive examination of marginalization, deftly juxtaposing the struggles of gay men with the constraints faced by women trapped in ‘protective marriages.’ Through this contrast, the film critiques societal norms and exposes the subtleties of subjugation experienced by both groups.
The director’s vision in Kaathal: The Core extends beyond typical portrayals of queer politics, aiming to challenge and expand audience perceptions. The narrative intricately weaves through the fabric of queer community dynamics, shedding light on significant yet frequently overlooked platonic relationships. It poignantly captures the emotional landscape of seeking genuine companionship under the weight of societal expectations, particularly as Matthew grapples with the potential loss of his cherished platonic bond.
The film confronts the harsh realities faced by individuals navigating the quest for stability and commitment. It compellingly depicts a gay man’s foray into a heterosexual marriage, a predicament emblematic of many in conservative societies. Through this lens, Kaathal explores the “South Asian Queer Men’s Pseudo-Marriage Life Circle,” sensitively unveiling an open secret within South Asian culture.
In its latter half, the film morphs into a gripping courtroom drama, inviting audiences to deeply engage with the characters’ tribulations. Dialogue is sparse, with only a few crucial exchanges in the courtroom, which serves to intensify the focus on the characters’ personal journeys and transformations.
While the resolution might justify a loveless marriage, it nonetheless underscores the essence of concern and care, placing platonic bonds above romantic ideals. By recontextualizing marginality within a courtroom setting, Kaathal disrupts normative perspectives and delves into how marginalized individuals navigate survival within restrictive social constructs. This nuanced discourse challenges the prevailing notions surrounding ‘protective marriages,’ making Kaathal a poignant and thought-provoking cinematic experience.
In a patriarchal society where men monopolize positions of authority, the role of heterosexual women remains marginalized and peripheral. This dynamic necessitates the quest for legitimacy in same-sex relationships. Gay men, historically protected by societal norms, often employ these very pressures as a bulwark against the restrictive confines of marriage and family. Similarly, women find themselves ensnared by the confluence of family, societal expectations, religion, and culture. For too long, the struggles faced by these marginalized women have been shrouded in silence.
A standout element of the film is its nuanced portrayal of Mathew, a prospective MLA rumored to be gay. His character offers a compelling exploration of the intersections between personal identity, politics, religion, and societal expectations, presenting a thought-provoking commentary on power dynamics and opportunism. In the context of South Indian politics, where leftist figures often present a veneer of progressivism, the tepid reaction to Mathew’s queer identity, even as he nears the MLA role, raises intriguing questions. Why is his political party not withdrawing his nomination? Why do some politicians view his queer identity as an asset rather than a liability? An examination of the local political climate, societal attitudes, and cultural context provides crucial insights into these dynamics.
Another intriguing aspect of the film is the public’s perception of Mathew’s sexuality. The revelation of his homosexuality only comes to light following his divorce announcement, despite the ease with which such information typically circulates. This can be attributed to his portrayal as a monogamous individual, whose limited social interactions over many years have obscured his sexuality from wider public knowledge.
Kaathal’s editing prowess is evident in its ability to intertwine seemingly disparate events to construct a cohesive narrative. The film eschews detailed exposition in favor of a curated selection of key acts, which are meticulously organized to create a seamless story arc. This editorial approach fosters an interconnected progression of events, crafting the illusion of a unified narrative. Through this lens, the film prompts viewers to reflect on the ways in which different societal groups either embrace or exploit various aspects of Mathew’s sexual identity, accentuating the contrasts between acceptance and exploitation within the complex tapestry of socio-economic and religious contexts.
“Kaathal” emerges as a pivotal work in the landscape of Indian queer cinema, marking a significant departure from the traditional focus on love, tragedy, or legal battles. Instead, it delves into underexplored facets of the queer experience, offering a nuanced examination of social acceptance and its impact on LGBTQ+ rights and representation. The film not only showcases artistic prowess but also serves as a powerful catalyst for societal change, highlighting the media’s influential role in shaping perceptions and sparking dialogue.
The director’s approach is marked by a direct and unambiguous narrative style, masterfully timed scenes that dissect dramatic elements with precision, and seamless match cutting that maintains narrative coherence. This meticulous craftsmanship ensures that audiences are drawn into the director’s vision, engaging deeply with the film’s exploration of marginalized voices and overlooked stories.
Despite its strengths, “Kaathal” is predominantly filtered through Mathew’s perspective, leaving his lover, Thankan (played by Sudhi Kozhikode), as a somewhat passive figure. Thankan’s varied emotional responses offer the primary lens into his inner world and the dynamics of their relationship. This intentional silence, combined with the cinematographer’s strategic use of depth of field, intricately unveils the character’s psychological landscape and the dialectic between contrasting thoughts. For instance, a poignant scene involving Thankan’s son, visibly distressed by societal stigma and clinging to his father in tears, subtly reveals Thankan’s gay identity. This moment profoundly illustrates the emotional and behavioral struggles of both the father and the son.
The film’s concurrent portrayal of the silence surrounding both Thankan and Mathew’s respective roles as fathers intensifies the emotional resonance for viewers, underscoring the complex interplay of identity and acceptance. “Kaathal” thus stands out as a compelling narrative that enriches the discourse on queer experience and the ongoing quest for equality and acceptance.
As the scene approaches its climax, a masterfully executed reverse angle shot captures the fraught dialogue between Matthew and his father on the expansive balcony. The camera, positioned intimately close, frames their intense exchange, with the father eventually moving to sit beside his son, drawing them into a more intimate compositional space. The cinematographer employs striking close-ups to not only reveal the characters’ nuanced facial expressions but also to evoke the latent tensions, unresolved conflicts, and emotional undercurrents that ripple beneath the surface.
In a subsequent shift, the camera pulls back to expose Matthew’s wife, standing alone by the door in the stark emptiness of the room. This cinematic technique highlights the coexistence of disparate emotional states and narrative threads, allowing the audience to juxtapose and contrast these sentiments, thereby deepening their understanding of the characters’ emotional landscapes and the interconnections between unfolding events. The visual juxtaposition offers a compelling exploration of dramatic and psychologically complex conflicts.
On a broader scale, while British colonial Article 377 once governed the entirety of undivided India, its legacy endures in Bangladesh and Pakistan, though it has been repealed in India. Indian cinema has traditionally celebrated those who challenge conventional themes, yet director Geo Baby’s ‘Kaathal – The Core’ distinguishes itself by addressing a pivotal, often overlooked issue. The film delves into the intricacies of personal relationships, societal facades, and the profound emotional terrains of its characters. Through its performances, ‘Kaathal – The Core’ prompts viewers to reflect on the place of genuine emotion in a world increasingly dominated by numerical values and superficial metrics.
About The Author
Mahbuba Yasmin is a multidisciplinary artist, and curator based in Dhaka, Bangladesh. Through her practice she expresses contemporary art, new media and art curation focusing on socio-political issues like identity, body, space and taboos.
As a young entrepreneur, Yasmin establish Epiphania Visuals as an artist run initiative for Banglasdeshi Queer artists’ community.
