After Kammatipaadam (2016), Thuramukham, meaning ‘harbour’, is another Rajeev Ravi ode to the historical struggles that form the bedrock of a modern city like Kochi. The period drama, written by Gopan Chidambaram, is based on an award-winning play of the same title written by his father, KM Chidambaram. At its heart is the question – what does capitalism do to human beings? The opening sequence is just the beginning of the long answer – people climbing one over another like crabs to find a token that would ensure that they got some work for the day; the inhuman chappa system in the early decades of the 20th century that forced workers to enter a gladiatorial battle every day to feed their families.
The stark black and white cinematography captures the bleakness of life, so devoid of any joy that it can only be defined as not-dead. Joju George plays Maimu, a giant bear-like man who can both be a source of comfort and terror. He sees the unfairness of what’s happening and is pushed to rebel. Joju is fantastic in the action scenes, displaying speed and agility as he swings one man after another. But it isn’t just Pacheek (Sudev Nair), the headman’s overseer and henchman, that he’s up against. It is the entire system.
Time passes, the black and white gives in to colour, and the saxophone in the background score makes way for a more modern soundtrack – but the change perhaps best registers on Maimu’s wife’s face (Poornima Indrajith). It seems like a travesty to cast the actor, who is only 44, as the mother of three adult children, including Nivin Pauly, who is just six years younger to her in real life. But Poornima pulls off the troubled Umma with poignance, registering pain and resignation in turn. Moidu (Nivin Pauly), Hamsa (Arjun Ashokan), and Khathija (Darshana Rajendran) are her offspring – the first is a prodigal son, the second is responsible yet insecure about his masculinity, and the third is a sweet-faced young woman whose fate is no better than that of other women around her.
Thuramukham is densely packed with characters and episodes that document the rise of communism in the Mattancherry harbour, leading up to an incident of police brutality that claimed the lives of three workers. While Moidu is happy to work for the blood-sucking masters as long as he gets to booze and visit the brothel, Hamsa is drawn into the dream of a future where workers can live with dignity. Between the two brothers is Ummani (Nimisha Sajayan exuding a raw beauty), a young Muslim woman who finds her way to their home, and adds to the tension that engulfs them.
Nivin, who has been struggling at the box office, is in good form in Thuramukham, particularly in the brief romance scenes. The mischief in his eyes and the bashful smile on his face are enough to bring back the Nivin Pauly we missed seeing for so long. The actor is also good in the action scenes though he’s inexplicably dressed in a sweatshirt and a too-modern haircut in the second half of the film. Arjun Ashokan is a revelation, playing the beta male in a household that’s teetering on the edge.
While the first half sets up the characters and the dynamics at home, the second half is focused on the struggle – and this is where the writing stumbles. There are quite a few scenes that show the workers queuing up to get their wages and being denied what they’d actually earned; yet, very little attention is paid to the characters who lead the struggle, beyond fiery speeches and their willingness to take on police brutality. We don’t even register most of their names, barring Santo (Indrajith Sukumaran), let alone become involved in their passionate protest.
There’s also insufficient information about the different unions involved in the battle. Terms like ‘DLB’ and ‘decasualisation’ are thrown around, but not explained though these are at the centre of the workers’ demands. ‘Inquilab Zindabad’ rings loud and clear in the air – and yes, it is inspiring – but it also becomes repetitive when nothing new happens cinematically. Scuffles break out, Moidu always emerges on top, leaders shout their slogans louder etc etc. There isn’t enough breathing space for the viewer to absorb what’s happening because the screenplay is already rushing towards the next sequence.
The world of women is more layered, and filled with a tenderness that the men are denied – the eager smile on Khathija’s face when she sees her dear Moidu after a long time; or Umma combing through Ummani’s hair and telling her that she has lovely tresses; or a neighbour lending a pot of water to Umma even though their sons are at loggerheads. They love more and grieve more. But this world is drowned out in the loud sloganeering of the men, and their frequent clashes.
At 174 minutes, Thuramukham is an ambitious recounting of an important historical episode. It’s not all smooth sailing, but the ship does make it to the shore – thanks to the strong performances of the cast, and the homage to a real-life struggle for labour rights that remains relevant to this day.
Sowmya Rajendran writes on gender, culture, and cinema. She has written over 25 books, including a nonfiction book on gender for adolescents. She was awarded the Sahitya Akademi’s Bal Sahitya Puraskar for her novel Mayil Will Not Be Quiet in 2015.
Disclaimer: This review was not paid for or commissioned by anyone associated with the film. Neither TNM nor any of its reviewers have any sort of business relationship with the producers or any other members of its cast and crew.