M T Vasudevan Nair, fondly known to me and countless others as “MT-chettan” or elder brother, was a towering figure in Malayalam literature and cinema. His contributions have left an indelible mark on both the fields, making him one of the most celebrated and respected personalities not just in Kerala’s cultural history, but also India’s.
As an author of searing and insightful fiction, MT authored nine novels and 19 collections of short stories, each reflecting the socio-political changes in and cultural renaissance of Kerala. His first major novel, Naalukettu (1958), or ‘The House with the Inner Courtyard’, dealt with the decaying feudal Nair family system and won the Kerala Sahitya Akademi Award. Other notable works include Asuravithu (1962), a disturbing work of human degeneration that literally translates as ‘Demon Seed’, and Randamoozham (1984), ‘Second Turn’, which retells the Mahabharata from Bhima’s perspective – Bhima’s was the ‘second turn’ with Draupadi.
MT’s works often explored the complexities of human relationships, the decay of traditional family systems, and the socio-economic transformations of Kerala. His writing style is characterised by its lyrical quality, deep empathy, and profound understanding of human nature. It received numerous accolades, including the prestigious Jnanpith Award in 1995, the highest literary honour in India. He was also awarded the Padma Bhushan in 2005 for his contributions to literature and education.
As if this were not enough, MT Vasudevan Nair was also the long-serving editor of the prestigious Malayalam weekly magazine, Mathrubhumi Azhchapathippu (Weekly), which he first joined as a young sub-editor in 1957. As editor over two long stints (1968-81 and 1989-99), MT’s editorial skills were widely recognised. He was known for his meticulous approach to editing and his ability to bring out the best in writers. He had a keen eye for spotting and nurturing literary talent, making the Weekly a platform for many emerging writers, who later became prominent figures in Malayalam literature. Notable authors like OV Vijayan, Sethu, M Mukundan, Paul Zacharia, and Sarah Joseph were among those whose careers were launched or significantly shaped by MT.
As a writer and editor, MT was a staunch advocate of free speech and often used his editorial position to promote progressive ideas and social justice. His insistence on maintaining high editorial standards and his commitment to truth and integrity earned him immense respect in the literary community. My parents were regular subscribers to the Mathrubhumi and great admirers of his editorial excellence. His tenure at Mathrubhumi Weekly is often remembered for the high quality of content and the magazine’s role in shaping the literary landscape of Kerala. MT’s contributions as an editor were instrumental in elevating Mathrubhumi Weekly to the leading position in Malayalam journalism and literature, which it never quite recovered after his departure.
All these would have been a considerable set of accomplishments for any writer, but MT also wrote the screenplays for more than 50 films and directed seven, making significant contributions to Malayalam cinema and winning the National Film Award for Best Screenplay four times. As a director, he helmed six films, including the iconic and disturbing Nirmalayam (1973), which won the National Film Award for Best Feature Film. His films are known for their strong narratives, deep characterisations, and cultural authenticity. MT’s works in cinema mirrored the socio-political changes in Kerala and often highlighted the struggles of the common man. His films and screenplays have been instrumental in shaping the narrative style of many subsequent filmmakers and have set a significant standard of thematic depth for Malayalam cinema.
In both his writing and his cinematic work, MT was known for his staunchly secular and anti-communalist outlook and his searing critiques of the socio-cultural issues of his time. His works emphasized the importance of love, unity, and a modern outlook for societal progress. He often highlighted the complexities of human relationships and the socio-political realities of Kerala, sometimes harshly. This has prompted some critics to attack him as “anti-Hindu” or “anti-Muslim”. Such charges are unduly simplistic. While he critiqued certain aspects of religious practices and the exploitation associated with them, his concerns were more about addressing the broader issues of social justice and human dignity rather than hostility towards any particular religion.
For all this, however, MT has faced criticism for his portrayal of women; some have even called him misogynistic, arguing that his female characters often conform to traditional gender roles and lack agency. For instance, the female protagonist in Naalukettu is depicted as submissive and dependent on male characters. Similarly, in Randamoozham, the portrayal of Draupadi has been criticised for being one-dimensional and reinforcing patriarchal norms. In his defence, it must be said that MT’s writings reflect the socio-cultural milieu of his time, and his characters often mirror the realities of the society he observed as a male writer. While some of his portrayals may seem outdated by contemporary standards, they also provide valuable insights into the historical and cultural context of Kerala.
MT Vasudevan Nair’s overall legacy is one of profound influence and inspiration. His works continue to be celebrated for their literary excellence and cinematic brilliance. They have inspired generations of readers and filmmakers, and his influence on Malayalam literature and cinema is undeniable. MT remains a guiding light for future generations of writers and filmmakers, embodying the spirit of creativity, authenticity, and cultural pride. In a society that deeply reveres its writers and intellectuals, his no-nonsense clarity and trenchant views will be greatly missed.
