Malayalam Cinema - A small journey

There was a time when Malayalam cinema was shot almost entirely within the confines of studios. But with the advancement of camera and lighting technology, the industry slowly stepped out into the open. Even then, filmmaking largely remained concentrated in the southern parts of Kerala—Trivandrum, Kollam, Alleppey, and later Ernakulam (now Kochi).

A few films, however, broke this mould. Classics like Olavum Theeravum, Asuravithu, and later Fazil’s Ennenum Kannettande were early exceptions. Soon, filmmakers began to discover the charm of Kerala’s lush landscapes, traditional tharavads (ancestral homes), and illams (Brahmin households). This shift truly gained momentum with Kamal’s Peruvannapurathe Visheshangal. What followed was a wave of films rooted in natural settings, driven by two simple reasons—low production costs, and the remarkable efficiency of the Malayalam industry.

Back then, a film could be completed, including post-production, within just 20–25 days—a feat unmatched anywhere else in the world. Yet, these films never compromised on story, screenplay, or performances.

It was also an era when a unique role existed in film production—the “Location Finder.” Usually a youngster with big dreams of entering cinema, he would hover around film sets, befriending assistant directors or cameramen. His pitch was simple: “I know a place untouched by cinema, where nature is at its purest.” If the producer, director, and cinematographer approved, the youngster was rewarded—not with money, but with a small role in the film, sometimes with a line, often just a fleeting shadow (sir chaya).

This is how regions like Malabar, particularly Valluvanad, became cinematic treasures. The unspoiled beauty of Kerala’s greenery was so authentic, so breathtaking, that filmmakers didn’t need to seek Spain, Italy, or the landscapes of Europe. Everything was right here, in God’s Own Country.