How Onam, Kerala’s 10-day long harvest festival, is celebrated has changed over the years. For one, traditional Malayalee kitchens no longer have a monopoly on the sumptuous Onam spread. Restaurants in Kerala take great pleasure in showcasing the Pulissery, Erissery, Pachadi, Avial, and of course, Paal Payasam on their menus.
But some things haven’t changed: the traditional Kerala saree and mundu (with the golden streak on the border) move to the front of the wardrobe, emerging from the corner they have hidden in all year. Markets bustle with Onam sales. Television channels air the latest Mollywood films. And filmmakers hoping to cash in on the holiday release the year’s biggest films during this week.
This year too, on the weekend ahead of Thiruvonam (September 13), five Malayalam movies were released. All of them had favourable initial collections.
Yet curiously, not many movies in Malayalam showcase the festival itself.
This wasn’t always the case: In the 1970s and 80s, the industry was inclined to make family-centred films. Onam, Vishu, and Christmas were frequently used as backdrops to depict the family’s togetherness and happiness. Four movies that released during this period, Thiruuvonam, Onappudava, Mahabali, Onathumbikkoroonjaal, had Onam as part of their core theme. Since then though, few movies had scenes woven around the festival.
On the eve of Onam, we revisit some memorable songs and scenes around the festival, from Malayalam cinema.
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“Thiruvaavani Raavu” (Jacobinte Swarga Rajyam, 2016)
In Vineeth Sreenivasan’s Jacobinte Swarga Rajyam, a group of Malayalees in Dubai bring the zest of Onam to life. The film tracks the life of Jacob, a wealthy businessman, and his family, who have made their home in the middle-eastern city. Composed by Shan Rahman and sung by Unni Menon, “Thiruaavani Raavu” is a lovely melody interspersed with energetic Poove Poli calls. Even the younger generation of Malayalees, like Nivin Pauly’s Jerry, who have barely lived in Kerala, shed their modern urban personas and embrace traditional attire. The women wear the Kerala saree and pattu paavada and the men wear the white dhoti with a streak of gold on the border.
Together, they sing, dance, and relish the Onam spread in the front yard of a posh apartment. Just before the song begins, Jacob asks a fellow Malayalee to ensure that the man donning the maveli role stays sober through the evening: A subtle dig at Malayalees’ love for alcohol. Especially during festival seasons.
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“Malare” (Premam, 2015)
In Alphonse Putheren’s Premam, love blossoms in the corridors of a small-town Kerala college, amidst 
cheerful Onam celebrations. Malar, the newly appointed guest lecturer, quietly acknowledges her romantic feelings for George, a student. All through gentle glances and smiles. “You look good in a Kerala saree,” remarks a smitten George. And Malar, rather nonchalantly, returns the compliment.
“Malare”, composed by Rajesh Murugesan and sung by Vijay Yesudas, became wildly popular across South India. Nivin Pauly and Sai Pallavi played the lovers. Nivin’s outfit in the sequence, a black shirt and white dhoti, became a fashion rage across Kerala campuses in 2015.
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Shubhayatra (1990)
In Kamal’s Shubhayatra, a group Malayalees modestly celebrate Onam in a crammed single-bedroom apartment in Mumbai. While the men, Innocent, Mamukkoya, and Jayaram, diligently chop vegetables and crack jokes to warm the ambience, the women, KPAC Lalitha and Parvathy, cook the Onam feast.
Kamal sketches the psyche of the era perfectly; of a time when erudite and skilled Keralites would migrate to Mumbai in a quest for better jobs. There is neither enough space nor resources to celebrate the festival as they would have in their villages. But, the joy and excitement remains intact.
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“Poovenam Pooppada Venam” (Oru Minnaminunginte Nurungu Vettam, 1987)
Written by poet ONV Kurup and composed by Johnson, “Poovenam Pooppada Venam” is the perfect portrayal of what Onam represented for upper-caste Hindus in the past. Sung by Yesudas and Sujatha, the song features Nedumudi Venu and Sharada, who play an old couple. Parvathy plays their adopted daughter. Clad in their best clothes, the three serve food to destitute dalits on their courtyard. The song’s lyrics describe the landlords’ pride, as they give the dalits their share of harvest.
Recommended
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“Poovili Poovili Ponnonamaay” (Vishukkani, 1977)
In “Poovili Poovili Ponnonamaay”, Prem Nazir and Vidhubala play a couple in love. As farmers work their fields on a sunny day, and the chorus sings, the duo stroll through paddy fields. The lyrics, written by Sreekumaran Thampi, describe the seasonal changes during Onam.
“Poovili Poovili Ponnonamaay” is one of popular culture’s best-loved songs. It was composed by Salil Chowdhury, the Bengali composer who has several iconic Malayalam compositions to his credit.
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And this Tamil song…
“Sundari Neeyum” (Michael Madana Kamarajan, 1991)
In Michael Madana Kamarajan, Kamal Haasan sings to his lover (played by Urvashi): that their romantic union would be an everlastingly happy one. “Once you and I come together / It will be Thiruvonam forever,” runs the song.
The setting is not Onam, but the song represents the festival’s festivity and happiness. Featured in the song sequence are Kamal’s Kamarajan, a Malayalee from Palakkad, and Urvashi’s Sundari, a Tamil woman. An Ilaiyaraja composition, the song has lyrics in both Malayalam and Tamil, and was sung by Kamal Haasan and S Janaki.
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