The film Lokah Chapter 1: Chandra, directed by Dominic Arun and starring Kalyani Priyadarshan, has achieved monumental success, grossing over ₹300 crores and becoming the highest-earning Malayalam film to date, surpassing even Mohanlal’s Empuraan. This “pan-Indian” blockbuster has captivated both audiences and critics with its fresh take on familiar stories.
Its phenomenal success can be attributed to many factors: a brilliantly conceived world, breathtaking visuals, Kalyani’s compelling performance, and Jakes Bejoy’s evocative soundtrack. However, the film’s profound resonance with Malayali audiences stems from its deep connection to the legend of Kaliyankattu Neeli, an iconic figure in Kerala’s rich folklore.
In Aithihyamala (Garland of Legends), a renowned collection of 19th-century folktales by Kottarathil Sankunni, Neeli is depicted as a formidable yakshi (a malevolent spirit) who preys on solitary men in the Kaliyankattu forest. This chilling legend has been adapted many times over the decades and remains deeply ingrained in the collective consciousness of Kerala.
Lokah, penned by Dominic and actor-writer Santhy Balachandran, brilliantly twists this narrative, transforming Neeli into Chandra, a nomadic superhero who has historically safeguarded the vulnerable. The film also redefines the popular myth of Kadamattathu Kathanar, a Christian priest and powerful magician traditionally credited with taming Neeli. In Lokah, Kathanar is depicted as Chandra’s ally, with her moral compass already guided by her mother’s teachings.
“Dominic’s vision to reimagine the yakshi in a contemporary setting as a superhero resonated strongly with us,” explains Santhy. “Given the audience’s familiarity with superhero narratives and their empowering choices, it was crucial for Chandra/Neeli to possess agency, rather than being passively transformed into a force for good by a patriarchal religious figure. This is why Chandra’s moral foundation is shown to be inherited from her mother.” Santhy emphasizes that myths and folklore are inherently fluid, constantly evolving with the times and ripe for reinterpretation.
Sarada and Sathyan in a still from Yakshi
This innovative approach to folklore isn’t new to Malayalam cinema, particularly concerning the yakshi. K.S. Sethumadhavan’s 1968 film Yakshi, an adaptation of Malayattoor Ramakrishnan’s 1967 novel, was among the first to feature this spirit while challenging traditional perceptions. This psychological thriller tells the story of a college professor (Sathyan), disfigured in a lab accident, who falls for a mysterious woman, Ragini (Sarada), only to suspect she might be a yakshi.
Fahadh Faasil and Anumol in Akam
A 2011 adaptation, Akam by Shalini Usha Devi, starring Fahadh Faasil and Anumol, offers a feminist perspective on the same novel. While sharing a similar plot, Shalini’s version utilizes the yakshi as a powerful symbol of female agency and desire, alongside a projection of male insecurity. Shalini echoes Santhy’s sentiment, believing that folklore and myths should always be open to new interpretations. “There must always be room to reimagine these narratives,” she states, “as retelling enriches their depth and relevance over time.”
Many other films have explored yakshi lore, including at least two specifically featuring Kaliyankattu Neeli. However, most of these tend to be poorly-executed horror films, reducing the yakshi to a simple vampiric figure preying on individuals, particularly men.
Chanchal in a still from Ennu Swantham Janakikutty
A notable exception is the 1998 classic Ennu Swantham Janakikutty, directed by Hariharan and written by the acclaimed author M.T. Vasudevan Nair. This film beautifully narrates the coming-of-age story of a lonely teenager, Janakikutty (Jomol), who forms an unlikely friendship with Kunjathol, a benevolent yet melancholic yakshi (Chanchal).
A still from My Dear Kuttichathan
The Kuttichathan—a mischievous, sometimes fearsome, boyish spirit revered as a deity in parts of Kerala—is another prevalent folklore figure in Malayalam cinema. Tovino Thomas’s quirky portrayal of the chathan in Lokah is the most recent interpretation of this popular folk deity.
India’s first 3D film, My Dear Kuttichathan (1984), charmingly depicted a kuttichathan who, accidentally freed from its captivity, lives among a group of children as one of their own.
Mammootty in a promotion poster of Bramayugam
Recent films like Rahul Sadasivan’s Bramayugam (2024), starring Mammootty, and Nirmal Sahadev’s 2022 horror-fantasy Kumari, featuring Aishwarya Lakshmi, have explored the chathan lore within more profound socio-political contexts. Bramayugam powerfully used the chathan to symbolize the perils of unchecked privilege and power, while Kumari leveraged its intriguing folklore to expose the lengths to which patriarchal figures in a feudal society might go to preserve their authority and customs.
Making Folklore Relevant for Modern Audiences
“To keep folklore alive and relevant, it must be deeply rooted in a contemporary world,” explains Kishore Mohan, a Thiruvananthapuram-based concept artist and writer known for his fantasy graphic novels. “This is precisely what makes Lokah so impactful. It makes you feel these ancient tales are part of your present reality, not just stories heard from a grandmother or read in a book.”
Tovino Thomas in Ajayante Randam Moshanam
Jithin Laal, director of Ajayante Randaam Moshanam (ARM, 2024), emphasizes the need for filmmakers to create a bridge for audiences to connect with fantastical worlds. “When I began ARM, many told me that fantasy wouldn’t appeal to Kerala audiences,” he recounts. “However, I believed that if the story was told organically, by embedding the socio-political realities of its historical period, it would become grounded and relatable, leading to its acceptance.”
Sujith Nambiar’s script for ARM exemplifies this method. The film weaves together a rich tapestry of narratives—from a village struck by a meteor and heroic warrior legends, to the exploits of a famed thief and the enigma of a stolen magical lamp—all meticulously anchored in the evolving socio-political landscape of the village across centuries, from medieval times to the 1990s.
This seamless fusion of folklore with contemporary elements is another reason Lokah proves to be such a captivating experience. “Striking the right balance between preserving the essence of the original material and offering a fresh perspective requires time,” notes Santhy, who also served as the dramaturge for Lokah. “It’s a rewarding challenge that often reveals our own biases and preconceived ideas about these beloved characters.”
In this spirit, Lokah shares similarities with one of Jithin’s cherished Malayalam fantasy films, Sakshal Sreeman Chaathunni (1993). Directed by the Anil-Babu duo and written by Kaloor Dennis, this film features the late actor Innocent as a playful and kind adult chathan. Accidentally freed from a black magician’s control by two unemployed youths (Jagadheesh and Baiju Santosh), the chathan uses his supernatural abilities to help them overcome various challenges.
Beyond Supernatural Fantasies
While many folklore-inspired films delve into the supernatural, not all are pure fantasies. A significant number draw from the real-life legends of thieves like Kayamkulam Kochunni and Ithikara Pakki, both immortalized in Aithihyamala. The most recent adaptation, Kayamkulam Kochunni (2018), directed by Rosshan Andrrews, starred Nivin Pauly as Kochunni and featured Mohanlal in a memorable cameo as Pakki.
Mammootty in Oru Vadakkan Veeragatha
Other significant action-period films drawing from vadakkan paattukal (Northern Ballads)—a collection of medieval story-songs celebrating North Kerala’s warrior clans—include Palattu Koman (1962), Thacholi Othenan (1964), Thacholi Ambu (1978), and Kadathanadan Ambady (1990). However, many of these earlier productions suffer from a somewhat kitschy style and haven’t aged as gracefully.
Yet, the 1989 Mammootty-starrer Oru Vadakkan Veeragatha, a masterpiece from the M.T.-Hariharan collaboration, remains exceptional. It is widely regarded as not only the finest film in this sub-genre but also one of Indian cinema’s greatest period dramas. M.T. Vasudevan Nair brilliantly re-envisioned Chandu Chekavar, traditionally a treacherous character who betrayed and murdered his cousin, as a tragic warrior perpetually misunderstood by fate and circumstance. The film garnered four National Film Awards and eight Kerala State Film Awards.
Exploring the Non-Mainstream Folk Narratives
Beyond mainstream productions, several non-mainstream films have also explored folklore. Perumthachan (1990), directed by Ajayan and scripted by M.T. Vasudevan Nair, is based on the legend of Perumthachan (the master carpenter) from the celebrated Parayi Petta Panthirukulam (the story of twelve children born to a Paraya woman). The film delves into the generational conflict between Perumthachan (Thilakan) and his prodigiously talented son (Prashanth), who yearned to challenge conventional traditions.
Thilakan in a still from Perumthachan
While not directly based on recorded legends, P. Padmarajan’s Njan Gandharvan (1991) and G. Aravindan’s Kummatty (1979) and Esthappan (1980) drew heavily from folklore traditions. Njan Gandharvan boldly delves into a young girl’s sexual awakening, with the gandharva symbolizing love and desire. Aravindan’s films, on the other hand, portray enigmatic wandering figures who captivate with their tricks and miracles.
A scene from G Aravindan’s Kummatty
Kishore Mohan hails Kummatty, one of India’s most visually stunning films, as a significant influence on his passion for speculative fiction. He recalls, “The film’s visual language and pacing allowed my childhood imagination to soar, prompting me to ponder where the magician came from, where he traveled, and the untold stories of the children he encountered.” Notably, Kummatty was meticulously restored in 2021 by the World Cinema Project of The Film Foundation, a non-profit initiative founded by Martin Scorsese.