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org (E-ISSN 2348-1269, P- ISSN 2349-5138)

NARAYANAN’S KUMBALANGI NIGHTS: A

Abstract: Madhu C. Narayanan’s debut directorial masterpiece titled Kumbalangi Nights is the tale of four
broken men whose home is a doorless shack, literally and metaphorically unfinished. The squalid corners of
this space seem to reverberate old piques, rancour and grudges. However, the unconfining space also serves
to pronounce the virtue of non-toxic masculinity that thrives on the poignance of love, loss, compassion and
redemption. The lyricism and melancholy that unfurls in every frame of Kumbalangi Nights get vividly
reflected in this space where the action unfolds. When analysed through the lens of spatial theory, the socially
construed ideologies regarding the inferiority and superiority of certain spaces also get artfully recalibrated
through the film. Kumbalangi Nights, in a way, makes women more equal than men and raises consequential
questions regarding patriarchy and male chauvinism. The ingenuity of the film lies in its valiant attempt to
portray male characters possessing the ability to genuinely, acknowledge the profound dimension of
femininity.

Index Terms: Kumbalangi Nights, spatial theory, family, society, patriarchy, toxic masculinity

INTRODUCTION

Kumbalangi Nights, the 2019 Malayalam directorial venture of Madhu C. Narayanan, can be
cohesively defined as a picturesque depiction of life deftly woven around a remote islet in the fringes of
Kochi. The sagacious film is copious in its layers and identifies sophistication in the remarkable finesse of
everyday existence of the ordinary. It astutely breaks numerous stereotypes while unveiling the politics of
the unconscious by defining how the composition of unacknowledged thoughts often structure the
complexion of your relationships - individual as well as social.

The film narrates the lives of four brothers whose abode is a dilapidated house on the bank of the
backwaters of the village of Kumbalangi. Saji, the tormented head of the frayed family and the designated
‘matriarch’, shares the space with his siblings - the mute Bonny, the frivolous Bobby and the ambitious
Franky. They have no father and their mother left them for serving God, rending them practically orphans.
The brothers are in an incessant battle with each other and their collective past. They are essentially flawed
and have never been amiable enough for societal acceptance. At instances, the viewers are also hit with
innuendos and undertones of self-deprecation and hatred for lacking enough “manliness” to be admired and
respected. Their foil, however, is the supposedly blissful and idyllic family on the opposite side of the
backwaters headed by Shammi, the de facto “patriarch”, who appoints himself responsible for the three

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women in the household: wife Simi, her younger sister Baby, and their mother. Shammi’s house is picture-
perfect, complete and immaculate.

The dichotomy as manifested by the juxtaposition of these two starkly disparate spaces inhabited by
antithetical characters conveys the essence of the film, with the director adroitly stripping down norms and
conventions one after the other. The film builds on numerous contradictions, and skilfully exposes the vile,
odious and destructive nuances of the virtuous and acceptable ‘normal’ while simultaneously revealing the
shades of empathy and goodness that underlies the apparently unpleasant and inapposite ‘abnormal’. It also
serves to depict that when accosted assertively by the purported underdog, the virile ‘complete man’ may
deform himself into becoming a demented narcissist who demonstrates sadism and lunacy.

The film effectively deconstructs the notion of superior and desirable space and aims to unshackle
‘space’ from the fetters of history, moralisation, superficiality and wealth. In Kumbalangi Nights, the space
that is seemingly cultured and refined is callous, and what is avowedly disordered and chaotic is empathetic.
In such spaces, offenders can be in the garb of heroes and the actual redeemers may be mere delinquents.
This idea is largely political and irreligious. It describes the dynamics of power relations between the
domineering and dominated, thus, attaining political and social relevance. The rationally irreligious aspect
of the film emerges out of its inability to moralise and define virtue. More critically, moralising is inordinately
generated by men employing their social, political, cultural and economic agencies while women get
idealized into their tailored roles as carriers of morality.

The celebration of feminism by shattering the models of genders as determined by patriarchy adds to
the ingenuity and nonpareil quality of Kumbalangi Nights. It manages this metamorphosis by the means of
its female characters who employ their will, empathy and potential to synthesize reality, overcome obstacles
and generate identity by disrupting male chauvinism and fruitfully affirming precepts of equality. The
exaltation of abusive, sexist ideas in art get reassessed with Kumbalangi Nights which compares 'toxic
masculinity' to absolute madness. Its ideology grants originality and novelty to the film.

KUMBALANGI NIGHTS: AN OVERVIEW

Kumbalangi Nights unfolds in the coastal village of Kumbalangi. The exhilarating film is directed by
Madhu C. Narayanan, written by Syam Pushkaran and co-produced by Nazriya Nazim, Fahadh Faasil, Syam
Pushkaran and Dileesh Pothan under the banner of Working Class Hero. The film has a stellar cast
comprising of Fahadh Faasil, Anna Ben, Shane Nigam, Soubin Shahir, Mathew Thomas and Sreenath
Bhasi. Cinematography is handled by Shyju Khalid and the music direction of the film is done by Sushin
Shyam.

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The film artfully illustrates the inherent malice of patriarchy as well as the subtle, nonetheless, fierce
assertion of the female spirit to be accepted and heard in the society. Female characters in Kumbalangi Nights
are not mere passive spectators. They are neither the silent receivers of ill fate nor the sidekicks of patriarchal
heroes. Rather, the film presents those women who bring in a vivid sense of perception, depth and direction
to the male-female dynamics by forging equality among the genders in the family and around. This change
in the view of female figures is triumphantly brought out by the scripter and director, not by any means of
long, dramatic and superficial monologues but through relevant, poignant and striking conversations. The
film does not revolve around a star nor a hero. Fahadh Faasil, a much-accomplished actor of Mollywood,
dons the role of Shammi, the anti-hero. In Kumbalangi Nights, slow motion action sequences and pompous
entry of larger-than-life heroes are completely avoided to render an affecting film pregnant with meaning.

REVIEW CONCEPT: SPACIAL THEORY

Michel Foucault’s much perused essay titled ‘Des espaces autres’, published in 1984, scrutinises the
dominance of a historical perspective in the works of the nineteenth century while claiming that the next
century would see a surge in spatial criticism (researchgate.net). His prognosis turned factual: the twentieth
century observed a striking ‘spatial turn’ in arts and literature. Until recent past space as a concept was
commonly forsaken in favour of the parameter of time in literary analysis. Literature was basically an art,
temporal in nature, in contrast to spatial arts like painting. Space in fiction was regarded as inconsequential
unless to present a wide backdrop for the action to occur. It was something insignificant, often unappreciated
due to overfamiliarity. However, towards the close of the twentieth century, the idea of space began to gain
momentum, and became a matter of curious attention and serious concern in literary studies and theory.

A watershed event in the trajectory of spatial theory was ‘Space in Literature: Questioning Space in
Fiction’, a critical symposium, that took place at Amsterdam University in 2011. It paved way to several
pathbreaking understandings in the field of humanities involving space in texts. The colloquium
accomplished to explore space as elicited in the works of literature and the nous behind certain manners of
spatial depictions. What proceeded out of its discussions was the ultimate concept of space as a product of
ideology. The determination of spatial experience is regulated by the dominant ideologies in the spheres of
politics, religion and philosophy. Thus, the portrayal of spaces in texts are often construed to denote, express
and sustain these specific experiences.

Spatial theory addresses the textual representation of human reciprocity with respect to their
environment. The existence of ‘dominant’ and ‘inferior’ spaces as well as the consequences of its mutual
interactions are the focal points of special theory. The discussions on the ideological dimensions of space
can be reduced to the corelations between “lived space” (literariness.org), society and power. Spatial theory
revaluates not only the interactions of individuals but also groups in society with space in texts. It revolves
around the cultural, emotional and psychological responses to particular spaces. It also attempts to understand
the employment of space to define power as well as the political and cultural influence on spatial
representation.

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Space as a ‘lived’ phenomenon, that is valued by characters on emotional, experiential and ideological
terms as a result of the communication between power and society, and not just as mere geographical spots
on the map is the idea that commands spatial theory. ‘Espace vécu’ or ‘lived space’ as a conspicuous concept
was initially introduced by Gaston Bachelard, a remarkable phenomenologist, who used it to describe the
architectural structure of houses. For Bachelard, all kinds of emotional experiences and related images for
its inhabitants are profoundly associated to their home. Later, Otto Bollnow, also a phenomenologist,
renamed ‘espace vécu’ as ‘erlebte Raum’ (Buchholz and Jahn 555). While Bachelard focused on the manner
in which different kinds of lived spaces are experienced, their ideological and experiential suggestions when
structurally opposed to one another are analysed by Bollnow.

‘Lived space’ as a phenomenological concept was transposed to the literary field by Herman Meyer,
Gerard Hoffmann and Bruno Hillebrand. Also, the triadic model of space was formulated by the social
theorist named Henri Lefebvre. The human senses produce the ‘perceived space’, mind creates the
‘conceived space’, and social interactions give rise to the ‘lived space’. ‘Lived spaces’, as Hoffmann notes,
are susceptible to changes even within the span of a text or with respect to the characters experiencing them.
Edward Soja’s ‘lived space’ of the marginalized is an extension of the concept of heterotopias devised by
Michel Foucault. It is representative of the ‘other’ spaces, distinct from that of the dominant sect and its
ideology. (researchgate.net)

The critical aspects of space that have been discussed by geographers and social theorists have
recently been advanced into another theory of ecocriticism. Though the findings of Foucault, Lefebvre and
Soja are invested in the ideological and cultural implications of space in text, ecocriticism profoundly
influences the literary explorations related to its ideological facets, especially in nature writings and its
critical studies from the age of Romantic literature to that of the era of the postmodern.

The ideological indications of space that connects it with power, starting from the notion as to how
power defines and structures space as well as to how these ideas are ratified or repudiated in literary works
are analysed by spatial theory. The way space is experienced by individuals is determined by the socially set
hierarchical order to which they belong. This consequently structures space accordingly in literature.
Depending on the voice of representation in texts, whether they are of the upper class or of the neglected, the
understanding and portrayal of specific spaces will alter.

SPACE AS AN INEVITABLE CHARACTER IN KUMBALANGI NIGHTS

The heroes of Kumbalangi Nights occupy a lowly space commonly perceived as ignominious inferior
and filthy. In the ‘barber shop scene’ where Saji and Bobby come to Shammi seeking his approval for the
marriage of his sister-in-law, Baby, with Bobby, Shammi and his brother, Shaiju, conspire to taunt and
ridicule the duo by degrading their living space. Shaiju points out that the four brothers live near a
‘theetaparambu’, a shit land – utterly revolting and undesirable. Shaiju continues to relegate it as where
nuisance causing stray cats and dogs are abandoned. It is downgraded as the space for dirt, ordure and the
unwanted; a sheer dump yard at the extreme margins. It is a stagnant ditch where the primary means of
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livelihood is fishing that is now dismissed as unfashionable. Here, brawls and booze are regular for the youth
who are mostly spongers and drifters who purposelessly wander away their lives. Time is static in this space
in the eye of the outsiders.

In this cesspool is the family of four absolutely distinct men of various temperaments and demeanour:
Saji lives off the sweat of his friend Murugan, a Tamilian whom he helped to elope with his lover Sathy;
Bonny, the mute one interested in music; Bobby, a flippant guy who is careless about life; and Franky, the
studious youngest brother who aspires to become a footballer. Their space is not limited by any absolute
rules, discipline nor an exclusive authority. Here, no one cares to prepare food, there is no fixed time for
eating and no particular place for sleeping. Nobody has a steady income either. They idle around with friends
and frequent bars. The mother of the family left her sons to serve at a community centre established by
missionaries and their father passed away long ago. In fact, when the death of Saji’s mother took place, the
father remarried Bonny’s mother who already had him from another marriage. All this provide a despicable
perception of the four brothers to the society. Also, the doorless house of this dysfunctional family is abased
as the worst in the area.

However, from an ideological perspective, it is the most organic and progressive of spaces, both
psychologically and naturally. The progressive thoughts and broad mentality that emerge out of the
inhabitants of this space is reflective of its natural scenic beauty, virtue and clemency. The lush shades of
green, the moonlight bouncing off the placid water, and the shimmering fishnets set the backdrop for their
lives. At the outset, one is likely to incline towards the outwardly peaceful and decent family of Shammi who
runs a men’s beauty salon. But it is Saji’s home, that uses eggshells as ashtray, that serves to expands our
horizons regarding a true family. It reveals to us the colours and nature of goodness and non-toxic
masculinity. The always open entrances of Saji’s house is a metaphor for the broadness of mind of the four
brothers and their unconditional and limitless love for each other. It is in fact a safe shelter to seek that is
devoid of any deception. It is the most open of spaces marked by unreserved acceptance and mental vastness.
Like nature safely cradles man, Saji’s house eagerly welcomes and protects Nylah, the African-American
tourist brought in by Bonny after being thrown out of Shammi’s homestay and later, Sathy with her new born
after her husband Murugan’s accidental death. Thus, the space facilitates the protection and inclusion of the
‘other’ and the marginalized- a widow with a fatherless child and an African American girl.

Later in a scene, based on Franky’s suggestion, we see the brothers deciding to pay a visit to their
mother despite the bad reputation that she brought to the family. Nothing is socially conventional about this
situation according to Shammi, the self-proclaimed ‘complete man’. However, the deeds of the brothers are
ushered by humanness, equality, forgiveness and empathy. Their awareness about their own flaws puts them
on a higher pedestal over the ‘complete man’ Shammi who is blinded by pride fired by his ‘masculinity’.
Shammi’s walrus moustache and thoroughly combed hair gives him the air of a pathological hidebound. His
daunting demeanour petrifies the kids in the neighbourhood and even makes his cheerful and vivacious wife
cower away. On the other hand, though the brothers loaf around, they are completely conscious of their

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imperfections. There is also a certain eagerness for being socially accepted, perhaps stemmed out of their
wish to be cared for and loved.

Shammi is the perfect antithesis of Saji. While Shammi, the patriarchal head of a respectable
household situated in a well-maintained space, epitomises the traditionally desirable man, all norms are
broken down by the owner of the doorless home, Saji, who expresses emotions openly. Though he is the
eldest of brothers, Saji is not ashamed to request Franky for help and meet with a psychiatrist when he feels
mentally unstable. Normally, Saji, being the elder brother, is expected to don the role of a parent and is meant
to hide his feelings and vulnerabilities from the younger ones. But, Saji shows us how opening up about
emotions will only lead to much stronger and secure bonds.

Shammi’s toxic-masculinity even prevents him from realizing that it is his wife and her family that
shelters him in her own house, when Saji’s home is in fact the domicile of many incapacitated visitors.
Despite living in Simi’s house, being the only man there, Shammi turns himself into the family’s patriarch.
The scene in which the family sits around chatting but before having dinner, Shammi finds a random excuse
to guilefully shift his chair to place it at the head of the dining table, in turn, establishing his dominance as
the chief of the space makes his sly mentality evident.

Shammi, the egoistical, self-obsessed alpha-male, stands for the most negative aspects of
masculinity and hence the film schemes to vanquish him and his principles. In one of the initial scenes
Shammi rebuffs Simi’s uncle, an excellent cook who takes pride in his culinary skills. It is a fitting
scene which exposes the apparently forward-thinking Shammi’s real mindset – cooking for him is a
fully “feminine” task and he might instinctually be dismissive of any man who enjoys it. The contrast
turns magnificent when on one hand is Shammi, the perfect man who is rotten inside with toxic
masculinity while on the other is Saji, a loser with a kind heart of gold.

While Shammi is left with no scope for change and improvement, the four brothers find themselves
in better places both socially and emotionally later in the film, thus, disproving the conventional held belief
that nothing great can come out of filthy spaces. But like lotuses that blossom in dirt, the brothers emerge
victorious. From a mere dismissive “child”, Franky, towards the end of the film, turns into a matured member
of the family, assisting his siblings, and transforming into a man. From a drifter, Bobby grows up into an
adult with a sense of responsibility; even his negligent approach to love changes. Saji too stops his sponging
tendencies and rises up to providing for those dependent on him.

The film gracefully transcends several boundaries set by communities and religions. Baby’s response
to Simi’s concern regarding Bobby being a Christian while she remains a Hindu beautifully spreads the
message of religious harmony. She replies, “Eee Jesusine namukku ariyathathano” (“Now, is Jesus not
familiar to us?”) (thequint.com). This statement affirms the familiarity between all religions. Also, Sameesha,
a friend of Baby, finds her dark shinned boyfriend beautiful. Similarly, with no hesitation, Bonny befriends
Nylah, the African-American girl whom he later falls in love with.

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It can be argued that it is Baby’s desire to enter the open and boundless space of the brothers that
prompts her to love Bobby, to be accepting of other religions and to surpass the boundaries set by economic
status. Unlike her sister and mother, Baby is never fearful toward Shammi. In several instances she bravely
stands up for herself against him. In the scene where Shammi refuses to host Nylah because she allowed
Bonny in her room, Baby confronts her brother-in-law despite her mother’s pleas to not utter a word in this
regard. When Shammi attempts to break her up with Bobby, Baby stands her ground and even dares to
threaten Shammi with her plans to elope.

The innate femininity of mother nature gets averred when she is worshiped across the cultures as a
goddess with the lineaments of nurturing, compassion, comfort and caring. Thus, the space that savours
nature by desisting any need for drawing boundaries between itself and the vast expanse of its natural
environment may be in possession of certain maternal qualities. This idea finds embodiment in Saji who
belongs to a doorless home. His space extends itself to the lap of nature by merging them into one. Saji, thus,
becomes the “matriarch” of the household in the absence of other female figures. He cooks and cares for the
family, and is basically the sensitive one. Saji says to Bobby when he complains about his mother that she
never had a comfortable and easy life: “She always smelled of her pain balm” (filmmakersvision.tumblr.com).
Saji’s femininity is also highlighted by the lack of a wife or love interest. He seems totally uninterested in
any woman. There is also no mention of any lost love in the past. The only partnership he fosters is with
Murugan, and that too is platonic in nature. However, the suggestion is not that Saji is gay or emasculated,
but just that he never puts himself in the virile, macho and belligerent situations that usually define heroes in
mainstream cinema.

When Saji emerges as a suitable “mother”, Shammi turns himself into a demented “patriarch” of his
wife’s house. When Saji emanates his goodness and magnanimity despite being situated in the middle of
garbage, where stray animals get dumped, the superiority of Shammi is pronounced by his ownership of a
homestay for tourists. Shammi is totally insensitive and is the apt personification of toxic masculinity. His
introduction scene shows him shaping his thick and strapping moustache while admiring his manliness in the
mirror. In the same scene, a bindi stuck to the mirror is being scraped off by him. The implication is his
intolerance to bear even a small blemish of “femaleness” in his way of appreciating himself as the most
“complete man”. His demand for absolute control, need for being immaculately dressed and his chilling smile
set him apart from Saji. He even chooses his profession as a beautician, one who artificially creates temporary
beauty. He is incapable of bearing with the chaos that can be witnessed in Saji’s household. His
disapprobation of the relationship between Baby and Bobby too is caused by his rapacity for control.
Shammi’s character discharge toxic masculinity from its every pore from the very beginning itself.

In the stunning climax, Shammi’s toxic masculinity as well as his demand for downright control get
extended beyond mere words and thoughts to absolute psychotic behaviour. He becomes petrifying, fanatical
and heated in his behaviour towards Baby because of her love for Bobby and clearly declares his intention
to never let them be together. Still, when Baby refuses to relent, Shammi begins to be impudent, offensive
and ferocious to her. Seeing his vicious nature, his wife Simi decides to stand up and support her sister. It is
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then that Shammi realizes the possibility of losing control over the family and immediately goes on a violent
fit. Finally, as he fights Saji and Bonny who had come to rescue Baby whom he had tied up and imprisoned
along with his wife and mother-in-law, Shammi insanely bawls that he is the “real man” and “hero”, proving
his deranged state of mind. Ultimately, when he gets seized by the four brothers together, it denotes the
debasement of the societal poison of toxic masculinity.

CONCLUSION

Kumbalangi Nights is the kind of film that demand mindful and spirited participation on the part of
the audience for rightly synthesising and consuming the tissues of meaning enwrapped within it. It bodes
aptly well with a society like Kerala that boldly challenges the patriarchal norms and conventions on
priesthood, faith and gender apartheid rooted in the social and religious practices. The film, through its
characters with depth and layers, urges the audience to break away from the clutches of social desirability or
the tendency to shape yourself in a manner deemed more socially acceptable than how you actually
appreciate yourself. It enables you to not unnecessarily strive to gain a favourable image in front of the
society to avoid being criticised or ridiculed. It proves to us that non-toxic masculinity is detached from
invincibility and machoism.

The transformations and improvements depicted in Kumbalangi Nights revolves around the life of its
characters representative of the ordinary sect, thus, granting a social germane to it. The ideologies that set
the criterion for a space to be respectable and socially inclusive gets revaluated in Kumbalangi Nights.
Despite its supposed social undesirability, the space occupied by the four protagonists in the film gets
elevated because of the virtue and integrity of its inhabitants. It gets recognized as the most organic, liberal
and progressive of spaces that is acceptive of deviations. The ingrained femininity of nature gets brought to
the forefront by presenting the empathetic and welcoming space as greener and lushes. In turn the film
subverts the persistent notion of masculine over feminine.

BIBILIOGRAPHY

Buchholz, S. and M. Jahn. “Space in Narrative.”, Routledge Encyclopedia of Narrative Theory, London,
2005, pp. 551-555.

Chandra-Mohanty, Inakshi. “Kumbalangi Nights - Character Analysis.” Filmmakersvision.tumblr.com, 7 Jul

John, J. “Kumbalangi Nights’: A Film that Disrupts Your Masculine Identity.” Thequint.com, 19 Mar 2019,
www.thequint.com/entertainment/indian-cinema/kumbalangi-nights-questions-masculine-identity-
malayalam- cinema#~:text=The%20film%20is%20not%20 set, is%20also%20a%20tourist%20attraction.

Kumbalangi Nights. Directed by Madhu C. Narayanan. Performance by Soubin Shahir. Working Class Hero,
2019.

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Mambrol, Nasrullah. “Spatial Criticism: Critical Geography, Space, Place and Textuality.” Literariness.org,
4 Jul 2017, literariness.org/2017/07/04/spatial-criticism-critical-geography-space-place-and-textuality/.

Rahaman, Valiur. “GENESIS AND APPLICATION OF SPATIAL CRITICISM: Edward W. Said and
Michel Foucault as Spatial Critics.” Researchgate.net, 12 Jun 2016,
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aid_and_michel_foucault_as_spatial_critics.

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