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Thread: The trope of Man redeems woman & Woman redeems man in Malayalam Cinema.
PS: Few Tamil films are also used for reference.
PS: Few Tamil films are also used for reference.
A quintessential example of the reversal of this trope is apparent from Syam Pushkaran's Maheshinte Prathikaram and it's 1988 inspiration Ponmuttayidunna Tharaavu. In Maheshinte Prathikaram Jimsi redeems the naïve and broken Mahesh while her character remain pigeonholed. (1/2)
In the latter Sreenivasan redeems the vile Urvashi (she is taught a lesson by the man, so to speak). These two films stands testimony how even the reversal of this trope become as misogynistic as the original. (2/2)
Even classics like Thoovanathumbikal don't seem to be free from this trope. I've seen people celebrating Parvathy's character saying it is 'nuanced'. But actually the nuance of the character is as simple as being redeemed by the man ― becoming submissive to patriarchy.
In Njan Gandharvan, the basic idea was a Gandharvan (celestal being) liberating the woman's Sexuality - which is ideally the man redeems woman. But the fabric of the film rather became too regressive that it eventually glorified patriarchal beliefs and system.
The most popular man-redeems-woman in Malayalam Cinema from 'The King'. This is the most simplest example to point out, because the trope cannot be as severe and as outspoken as this scene. Peak of mansplaining.
The transition (reversal) of this trope over years is best reflected in the career of 2 stars from different generations - Jayaram and Nivin Pauly. Both of them were first choice by family audience.
Jayaram redeemed his woman through slut-shaming and mansplaining. (1/2)
Jayaram redeemed his woman through slut-shaming and mansplaining. (1/2)
Whereas today, most of the man-child characters played by Nivin Pauly is moulded by his female leads ― most times softening his hot tempered masculinity. But now, in films like Hey Jude and Moothon the trope is slowly getting using in a somewhat progressive light.
In Tamil, Selvaraghavan pioneers this trope like none. He literally makes his women characters as “angels” who forgive, sacrifice and rectify the sins of the toxic male. Phew, peak misogyny!
In the climax of 7G Rainbow Colony, just before the heroine dies by accident she pauses for a minute, looks at the statue of Mother Mary, goes back and forgives the hero. Selvaraghavan chooses the trope so that he'd not be the old asshole anymore. And he won't. He's redeemed. 
This is the same embroidery Syam Pushkaran did in Kumbalangi Nights when Saji brings the widow of his Friend to the island. Like the widow redeems Saji, the rest of the men in the film are also redeemed by other women.
In Mysskin's Psycho, Aditi Rao Hydari redeems a devil into christ. She is a literal metaphor for the theme of 'maternity' in the film. In the last frame we can see her dressed in all white and the antagonist resembling a christ.
The heroine is a personification of 'Angel' in Maniratnam's Kadal. She has the agency of a firefly. Always dressed in white and called 'Beatrice' which means blessed.
In Aranyakam, the interactions between Ammini and the radical naxal leader is wholly placed in the backdrop of a dilapidated temple amid a forest. Though the film appears to be about Ammini, she was in contrary a tool for MT to redeem the naxal leader.
Stop Violence (2002) is another film that blatantly used the device. Here Prithviraj's goon is named 'Saathan' (Devil) and the female lead is 'Angel', obviously. There are many frames in the film that tries to carry forward this motif.
Though Anna doesn't particularly redeem Rasool in the film Annayum Rasoolum, their (sorry, Rasool's) first encounter is arranged in a typical set up that connotes a fallen-for-the-angle meaning.
In Thattathin Marayathu, Vineeth exoticizes the female lead into a divine stature. She becomes a tool who reedems the hero from his aimless life. And no, she doesn't have a character arc.
When compiling this thread i realised that there are only few love stories that are actually devoid from this trope. Some among them would be KG George's Ulkkadal, Padmarajan's Namukku Parkkan Munthirithoppukal, Aashiq's Mayaanadhi etc. Love remains Love, no conditions attached.
