About 30 years ago, I interviewed MT Vasudevan Nair, recipient of India’s highest literary honour, the Jnanpith Award, and the Sahitya Akademi Award. He also received the Padma Bhushan.  He passed away in Kozhikode, Kerala on Christmas Day.

While in Delhi, where I was working for the New York-based weekly newspaper India Abroad, I called on him in the guest house of India International Centre, the capital’s intellectual and cultural hub. He was in transit, on his way to Chicago to see his daughter.

Widely known as MT, the celebrated Malayalam writer, filmmaker, and literary giant, received me – like him a Malayalee – with warmth and a down-to-earth demeanor. Like him, his writings and films overwhelmingly represented a unique Kerala flavor, and its social and political ethos.

Transcended boundaries of state 

The icon of Malayalam literature and cinema transcended the boundaries of his state and had a fan following across the country. He was uncompromising in his principles and expressed his views about himself and Kerala society with brutal honesty.

His laconic replies during that interview were in measured tones, and I could realize that his transparency and forthright views on issues of Kerala politics and society might have created a few benign enemies.

When I asked him about the best film that he had made, he said it was Varikuzhy (Well), a commercial flop that was screened in theaters only for three days. But it came to be lauded as a masterpiece.

MT was able to surpass the boundaries of his native Kerala and was able to captivate audiences and critics with his deep insights into the human psyche. In all his films and novels, he conveyed the story in raw honesty and his trademark literary elegance.

Excelled in literature and cinema 

Born on August 7, 1931, in Kerala, MT made a mark in the Malayalam literary scene in the 1950s. His debut novel Natuvazhi published in 1958 received critical acclaim and established him as a leading voice in Malayalam literature.

His oeuvre, spanning novels, short stories, essays, and screenplays, explored the complexities of human relationships, social realities, and the enduring power of the human spirit.

He excelled in both literature and cinema. Among his films, Nirmalyam, released in 1973, marked his directorial debut. It garnered both national and state awards. Even after half a century, the film's themes and imagery remain deeply etched in my memory.

The powerful portrayal of P.J. Antony as Velichappadu, the village oracle, is particularly haunting. The scene where, driven to desperation by poverty, he spits on the idol of the goddess he serves remains a poignant commentary on the harsh realities of life. Despite his service to the temple, Velichappadu faces abject poverty, forcing his wife into prostitution. This act of defiance, born of desperation and despair, reflects the limitations of religious faith and the crushing weight of poverty.

Such a scene would likely face significant resistance in contemporary Kerala. The prevailing climate of communalism and sectarian divisions within Malayalee society would likely lead to demands for a ban on the film, with critics citing it as blasphemous. This highlights the increasing intolerance towards artistic expression that challenges religious sensibilities.

MT’s screenplays, such as Oru Vadakkan Veeragatha, redefined cinematic storytelling with powerful dialogues and performances. MT's literary style had a unique blend of realism and surrealism, often infused with a touch of the mythical. He explored the depths of human emotions, exposing the vulnerabilities and contradictions that shape individual lives.

His narratives, rooted in the realities of rural Kerala, transcended geographical limitations, resonating with readers across cultures and generations.

Among his films, Nirmalyam, released in 1973, marked his directorial debut. It garnered both National and state awards. Even after half a century, the film's themes and imagery remain deeply etched in my memory.

The powerful portrayal of P.J. Antony as Velichappadu, the village oracle, is particularly haunting. The scene where, driven to desperation by poverty, he spits on the idol of the goddess he serves remains a poignant commentary on the harsh realities of life. Despite his service to the temple, Velichappadu faces abject poverty, forcing his wife into prostitution. This act of defiance, born of desperation and despair, reflects the limitations of faith and the crushing weight of poverty.

Such a scene would likely face significant resistance in contemporary Kerala. The prevailing climate of communalism and sectarian divisions within Malayalee society would likely lead to demands for a ban on the film, with critics citing it as blasphemous. This highlights the increasing intolerance towards artistic expression that challenges religious sensibilities.

MT was renowned for his insightful exploration of human relationships and social realities. His novel Naalukettu (Four Blocks), about the decline of a joint family, won critical acclaim, and its television adaptation garnered a state award. His magnum opus, Randamoozham (The Second Turn), a reimagining of the Mahabharata from Bhima's perspective, is considered a classic of Indian literature. His most celebrated novels are Kaalam (Time) and Aazhikatha.

Artistry steeped in Kerala society

Besides his literary work, MT was respected for his significant contributions to Malayalam cinema. Many of his screenplays had become landmarks in Indian film history. His collaborations with renowned directors like Adoor Gopalakrishnan and G. Aravindan resulted in masterpieces that received international acclaim.

Films like Elippathayam (The Rat Trap), Kodiyettu (The Ritual), and Vidaparayum Munpe (Before the Dawn) are still considered milestones in Indian art cinema, showcasing the power of visual storytelling and profound social commentary.

MT’s novels, stories, essays, and screenplays reflected his ability to probe the complexities of human relationships, the rugged realities of societal norms, and the resilience of the human spirit.

The passing of MT marks the end of an era in Malayalam literature and cinema. People would remember his unwavering commitment to literary and cinematic excellence, a legacy that he has passed on to the next generation.

My Delhi encounter with MT had left a lasting impression on me, serving as a poignant reminder of the true essence of artistry steeped in Kerala society. It underscored the resilience of the human spirit and highlighted the importance of honest self-expression in all forms of creativity.

MT Vasudevan Nair was more than just a writer or filmmaker; he was a visionary, a mentor, and an enduring inspiration. His passing has left a palpable void within the literary and cinematic fields.

(The writer is a veteran journalist. Views expressed are personal. He can be reached at ksnayar@gmail.com)