Author(s): Unnikrishnan Kalamullathil

Abstract: This paper examines Neelakkuyil (1954) and Nirmalyam (1973) as mnemonic texts within Malayalam cinema that encode the complex experience of modernity in Kerala. Situating the films within the socio-historical transformations of postcolonial Kerala — marked by linguistic reorganisation, agrarian reform, communist mobilisation, and the decline of feudal and ritual formations — the study argues that these works do not merely reflect social change but actively participate in the construction of cultural memory. Drawing on Jan Assmann's theory of cultural memory alongside postcolonial frameworks of hybridity and ambivalence, the paper analyses the distinct mnemonic landscapes each film produces as sites where the tension between tradition and modernity is negotiated. Neelakkuyil employs social realism to memorialise caste repression and legitimate a rationalist, reformist nationalism, while simultaneously reinscribing gender and caste hierarchies through the silencing of subaltern voices. Nirmalyam, in contrast, adopts an elegiac modernist aesthetic to lament the spiritual and ontological displacement wrought by modernisation — a register of loss, dispossession, and irresolvable historical rupture. Taken together, the two films constitute a dialectic of cultural memory: one oriented toward liberation and futurity, the other toward mourning and critique. In doing so, they lay bare the contradictions and costs of modern transformation in Kerala. The paper concludes that these films remain vital for understanding how postcolonial societies visualise, negotiate, and contest the meanings of progress, identity, and historical change.

Keywords: Cultural Memory, Malayalam Cinema, Postcolonial Modernity, Caste Representation, Film Studies.

Article Info: Received: 07 Jun 2026; Received in revised form: 25 Jul 2026; Accepted: 30 Jul 2026; Available online: 02 Aug 2026

DOI: 10.22161/ijels.114.33