Mohanlal and Shahrukh Khan - Weaving magic through films

 

 

In the recently held National Film Awards in New Delhi Mohanlal and Shah Rukh Khan, two towering figures of Indian cinema, who embody the diversity and dynamism of the country’s film culture, won coveted National Awards. While Shah Rukh Khan, popularly hailed as the “King of Bollywood”, who rose to global prominence through Hindi cinema, won best actor award for his role in Jawan, Mohanlal (popularly known as lalettan) the quintessential actor of Malayalam cinema revered for his naturalistic performances, won the coveted Dadasaheb Phalke Award for his life time Achievement in Indian Cinema. While, for Shahrukh Khan aged 59, it was the first National Award, for Mohanlal, aged 65, it was the highest award that Indian Cinema offers to any Indian Film Personality.    A closer look at the trajectory of their film careers take us into contrasting yet complementary artistic traditions with divergent narrative styles, and audience expectations. But a question remains, who is more successful and loved amongst them?

Shah Rukh Khan’s journey from theatre and television to mainstream Hindi films in the early 1990s coincided with the liberalization of India’s economy. His early roles in TV in serial Fauji immediately revved up interest in him and later films like Baazigar (1993) and Darr (1993) broke the mould of the virtuous hero, presenting instead a charismatic anti-hero. This boldness however quickly gave way to a romantic persona that redefined the Bollywood hero archetype. Dilwale Dulhania Le Jayenge (DDLJ) (1995) was one such landmark in Indian cinema that combined diaspora concerns with traditional Indian values and cemented Khan’s image as the universal lover. His career arc mirrors the aspirations of a middle class that was becoming increasingly global yet rooted in cultural tradition. Khan’s strengths lie in his magnetic screen presence and an ability to blend flamboyance with vulnerability. However, it is often argued that he has occasionally relied too heavily on formulaic romantic roles, leading to stretches of creative stagnation before his recent resurgence with action-driven spectacles like Pathaan and Jawan (2023).

Mohanlal, by contrast, built his reputation on understatement and versatility. Beginning his film career in the early 1980s, he emerged during Malayalam cinema’s golden era, when socially relevant narratives and realist filmmaking were dominant factors determining success or failure of a film. During that era Mohanlal could effortlessly shift from the disarming charm of films like Thoovanathumbikal (1987) to the moral gravitas of Iruvar (1997) and the layered introspection of Drishyam. His genius lies in making the extraordinary feel ordinary imbibing even larger-than-life characters with a lived-in and simplistic authenticity. Unlike Khan’s star persona, Mohanlal often dissolves into his roles, enabling Malayalam cinema to explore complex social issues without the distraction of celebrity spectacle. While his prolific output includes uneven projects, his sheer consistency over four decades remains remarkable and unparalleled in Malayalam cinema.

A Comparison of these towering stars in the backdrop of National Film Award would but underscore the regional diversity of Indian cinema. Hindi films traditionally target a pan-Indian and international audience, rewarding charisma and spectacle, while Malayalam cinema prizes narrative realism and cultural specificity. While roll out OTT platforms have suddenly elicited immense Pan Indian and global interest for regional films especially South Indian Movies, Hindi Cinema today faces the largest challenge of having to compete with the un-whetted appetite for good films by masses.  While a few years back Shahrukh was a household name who has been a heartthrob but remained an uncrowned king in the context of having won National Awards, reach of Mohanal was somehow limited to regional audiences due to language barriers and non-availability of content (dubbed or otherwise) in all regions due to monopolistic distribution systems in the cinema world.   

While both actors seem to share similar moments of success and glory in their individual career paths, their charisma and emotional connect have easily broken linguistic and cultural barriers through their films. While Shahrukh Khan has a global fan base, mostly comprising of women that include the  Indian diaspora spread across the world; Mohanlal’s nuanced performances have slowly and firmly earned international recognition by making the Malayalam Film Industry a reason for debate and attention within India and abroad.

A comparison of careers of these two towering stars is not possible but magic of films through heroes like them reveal the hard work, determination and mystery that revolves around evolving nature of stardom. While on one hand Shahrukh Khan has embraced marketing, social media, and global collaborations to sustain relevance, Mohanlal’s longevity is anchored in craft and adaptability within a smaller but discerning market. Both approaches highlight different strategies for survival in a rapidly changing industry.

Ultimately, Shah Rukh Khan and Mohanlal represent two poles of Indian cinematic excellence: one that thrives on grand romantic ideals and mass spectacle and the other that relies upon subtlety and realism. Together, they illustrate Indian cinema’s richness that has hidden layers of not one single tradition but like threads that weave out wonderful patterns in a fabric, they encompasses myriad styles, languages, and emotional registers.  Thus Indian cinema and film industry today wields tremendous soft power where each actor is a master of his own distinctive universe and each film turns out to be a unique creation that encapsulates artistic excellence, technical expertise, hard work and creative imagination of the entire team led by stars like Shahrukh Khan and Mohanlal, who truly deserve recognition that can inspire millions through the medium of Cinema and films.

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71st National Film Awards – A celebration of Films and film craft

 

New Delhi, 23 September 2025

Hon’ble President of India will present the 71st National Film Awards (NFA) at Vigyan Bhawan, New Delhi today.   The awards go to the filmmakers, actors and technicians whose work was adjudged the best for films certified in the year 2023. Earlier on 1^st August, 2025, the official winners were announced and today at Vigyan Bhawan, their contributions are being formally recognised and celebrated through felicitations in the NFA Awards ceremony.

The first National Film Awards ceremony (for the film produced in 1953) took place in the year 1954 at the same venue in New Delhi.  With passing years the number of awards and categories in which selections are made by jury has expanded considerably.  The categories now include the feature, non-feature, regional, book on films and the coveted Dadasaheb Phalke Award that honours the life time achievement of personalities involved in the field of Films.

This year Malayalam cinema’s iconic actor Mohanlal, who has a career spanning four decades and celebrated for over 350 films across multiple Indian languages is being conferred with the Dadasaheb Phalke Award. The Award was instituted in the year 1969 to commemorate the achievements of “father of Indian cinema,” Dadasaheb, and is reserved for a film personality for his/her lifetime of outstanding contribution to the growth and development of Indian cinema.

Born in Elanthoor, Kerala in the year 1960, Mohanlal is known for effortless versatility, who besides being an actor is also a producer, singer, martial-arts enthusiast, and recipient of several national and international awards. His work spans across action, drama, and experimental cinema. His landmark works include Manichitrathazhu, Kireedam, Vanaprastham, Bharatham, and Drishyam, alongside blockbusters like Pulimurugan and Lucifer. He excels in both art-house and commercial roles, collaborating with masters like Bharathan, Padmarajan, and Priyadarshan, shaping Malayalam cinema while also acting in Tamil, Hindi, and Telugu films. He is married to Suchitra and has two children, Pranav and Vismaya.

The 71st National Film Awards recognises films certified between 1 January and 31 December 2023. The winners who were declared in a press release on 1 August 2025; today the winners will be formally honoured by Hon’ble President of India.

Apart from the Dadasaheb Phalke life time award, the Best Feature Film (Swarna Kamal) goes to 12th Fail. Best Actor in Leading Role is being awarded to Shah Rukh Khan and Vikrant Massey (shared) — for Jawan and 12th Fail respectively. Best Actress (Leading Role) goes to Rani Mukerji in Mrs Chatterjee Vs Norway. Some of the other award are best Supporting Actor Shri Vijayaraghavan a prominent actor from Malayalam Films. Best Supporting Actress: Urvashi; Janaki Bodiwala, besides winners in several other categories.

3I-ATLAS – An Interstellar Comet or an alien spaceship?

 

                                       3I-ATLAS – An Interstellar Comet or an alien spaceship?

These days my mobile and social media accounts are flooded with videos and news items relating to alien invasion on Earth, sighting of UFOs and of course 3I-Atlas. While doomsday prophecies and alien invasions are being discussed, official agencies such as NASA are dismissing any such claims, reiterating that the Interstellar object in discussion is a comet that is merely passing by our solar system through millions of years of time travel.

On 1^st July, 2025, a comet from Interstellar, which is referred to as the space between the stars, was discovered by Astronomers. This interstellar object was named 3I-ATLAS.  Based on its characteristics, it has been categorized as a 'comet' based on the typical hyperbolic shape of its orbital path.  It is estimated that this comet will be reaching the closest point to the Sun on 30^th October, 2025, at a distance of about 1.4AU (130 million miles or 210 million kilometers), just inside the orbit of Mars.

Travelling at a speed of roughly 90,000–110,000 km/h, the comet is now officially recognized as the third known interstellar visitor after ‘Oumuamua and 2I/Borisov and is projected to make its closes pass to Earth on 19  December, 2025. While social media is abuzz with bizarre stories about the interstellar object, it has now been acknowledged that the comet, calculated to have arrived from the direction of constellation Sagittarius, is formed in another star system and was ejected into the interstellar space until it recently entered into our solar system.

While scientists and astronomers are closely observing the alien object, research so far has shown that the comet has extreme Negative Polarization (meaning a deep and narrow negative polarization branch reaching about −2.7% at a ~7° phase angle), with an inversion angle (~where polarization changes sign) around 17°, which is interpreted to be unusual among comets and asteroids. Gases such as CO2, Methane have been discovered via JWST Infrared Spectroscopy, which is suggestive of a volatile rich composition of its nucleus with the possibility of ices that are less processed. Ultraviolet imaging (with Swift telescope) has detected emission characteristic of OH (a by-product of water splitting), which is a sign of water presence.  Hubble observations has also estimated the size of its nucleus to be up to ~5.6 km in diameter.

While official agencies such as NASA have declared 3I-ATLAS as a comet that shall pose no threat to Earth, there have been several speculations about the Interstellar object to be of Alien origin and that it is a weaponized spacecraft that could possibly turn hostile towards humans on Earth.  Multiple observatories and instruments such as Hubble, JWST, Swift, ground telescopes discovering consistent features like coma development, gas/dust output, tail growth and Spectroscopy showing composition through polarimetry giving extensive details about dust properties, water detection supports the theory that the interstellar object is of natural behavior typical for a Comet.

However, uncertainties in relation the exact internal structure / nucleus shape, rotation period of the object and some of the “odd” features (e.g. unusually high CO₂/H₂O ratio, strong activity far from Sun, polarization peculiarities) which are not fully explained by existing comet models point to either unusual formation environments or preservation (less processed by radiation, etc.) in respect of 3I-ATLAS which makes a clear interpretation of the object as comet, a matter of debate.

While the best scientific evidence as of now strongly supports the theory that 3I/ATLAS is indeed a comet with natural origins and behavior but it surely is an unusual case compared to comets previously identified having marked their presence in our Solar System. Moreover, with claims that it is “emitting its own light,” or shows mission-maneuver-like behavior, which as of now largely remains speculative are reasons that the subject matter has become a hot case for debate in scientific community. 

Social Media through stories and reels emanating from various geographic locations is deeply speculating a hidden threat to mankind based on predictions such as one from Baba Vanga about humanity making contact with aliens in 2025. Some researchers are claiming that humanity is poised to make contact with aliens and that the interstellar object could well be part of some extra-terrestrial reconnaissance. Harvard astrophysicist Avi Loeb has speculated (in more “thought-experiment” fashion) that some of the observed features of the comet might be consistent with artificial origin like its brightness, possibly not just from sunlight reflection, trajectory “fine-tuning etc.  Even astrologers and innumerable social media geeks have come out with pages amplifying theories that seem more seeped in fiction than any credible scientific study.

It is said human mind is a fertile ground for creation and imagination. Thus as 3I-ATLAS travels across our solar system, sci-fi writers are penning stories of the Interstellar object akin to an alien spacecraft likely to make a landing over Mars.  People are also imagining the aliens hidden in the spaceship are stealthily trying to alter human minds through alien technologies or even planning to attack Earth! Researchers and official agencies are however reiterating that the object under study is indeed a Comet and it poses no threat to humankind on Earth.  It is hoped that scientists with the help of new age tech and in-depth research, will possibly be able to make new discoveries about this fascinating interstellar visitor and offer deeper understanding of about such alien trespasses into our solar system.

 Image Source: Internet

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Lokah Chapter I – My take

Lokah Chapter I – My take

Jaya Prakash Kallikkal

#Mollywood, #Dulquarsalmaan, #lokahchapter1 #kalyanipriyadarshan 

Across civilizations and centuries, the figure of the superhero has embodied our oldest storytelling instincts- a bridge between myth and modernity.  Today’s cinema carries the lineage forward, casting extraordinary beings as guardians of justice and catalysts of social change.  In an era defined by unrest, threats and uncertain future, younger generations look outward for saviours as they peer inwards gathering power to seize power themselves, as vividly demonstrated by Gen-Z movements of Kathmandu to countless other squares. Lokah – Chapter I, emerges as a block-buster in this charged times as a potential game changer for Indian cinema, shifting gears and assigning charge to a new super hero, a woman who shall wield the power, not as a mere spectacle but as profound cultural force.

 

Superman, created in 1938 by Jerry Siegal and Joe Shuster, has been one of the most iconic superheroes in global cinema.  While Superman representing the traits of an immigrant hero born as Kal-El on the doomed planet of Krypton and raised as Clark Kent in rural Texas is a character that blends near divine powers with capabilities for flights and super strength, he is shown to be deeply human,  shaped by his adoptive parents.  Several other characters such as Spider man, Black Panther, Ultraman have amused world audiences through movies that have been box office hits.  Taking the tradition forward is a recently released Malayalam movie.

I watched Lokah Chapter I, at PVR, Vasant Kunj, New Delhi where the turnout of women out-numbered that of men.  This Dulquar Salman Production has Kalyani Priyadarshan as Chandra, the female lead superhero who lends a fresh air to the desires of Generation Z, fighting injustice and unfolding mysteries through a characterization from ancient Malayalam folk lore.  Chandra is young but ageless, she is beautiful with a pretty face but not face-less or wears mask, like many other superhero characters from across the globe.

I felt, Lokah, Chapter I is a film for the young, by the young.  Old have to go.  The film attempts to usher in a new era of superhero films with its striking visual imagery conjured up through fantastic cinematography techniques used by Nimish Ravi.   As a viewer, I felt the transitions in the movie, frequently throwing a viewer back and forth into time different time zones especially while attempting narration of folk lore and fables which seemed jarring and disturbing.   Incorporating multiple set of techniques and mediums lent a feel of struggle with time lines and conflicting methodologies and discussions (with the film production unit).  While on one end, a viewer is awed by effective use of VFX effects and slick editing, on the other extreme end was the movie reeling out traditional animation with a changed colour code.  A let down for a movie buff like me who ends up comparing a Hollywood Sci fi block buster with a movie like LC1.

However, I could not hold back my joy, when I saw big applause and clapping to the moves of Chandra came from movie goes.  That perhaps was the moment when I felt that Malayalam cinema has broken the shackles and by making Chandra, a superhero, changed the narrative of cinema in India.  Whether it is a superior police officer slapping her junior (natchiappa gowda) or Chandra (playing the character of Neeli) slapping Chathan (Tovino) at his attempts at getting closer to her, makes one realize that the world of tomorrow shall belong to those who hold the power and it could well be spearheaded by women.

As for the structure of the movie, I found the film employing a cliché of a mysterious character, the protagonist, Chandra, gelling into a regular Benguluru middle class neighbourhood, hiring out a flat but frequently having dubious characters entering her flat as regular blood supplies dilutes the freshness of the film, the antagonist The antagonist, Inspector Nachiyappa Gowda is portrayed as a typical misogynistic character. Evil, bereft of emotions and patriarchal, he seems to have taken a leaf out of a typical Bollywood villain.  In a movie like LC1, clear revolution should have been brought out for a character endorsing evil.  Making a villain wear clothes of a police officer and employing an elite force called ‘Garuda’ for stopping or killing ‘Chandra’ (referred to as being a terrorist) and a subtle endorsement of a system supporting evil spread by the ‘Mafia’ shown as shadowy underworld was I felt unacceptable. A more creative and imaginative tinge to the story should have been employed in the film, especially as it has capacity to hold its sway amongst youth.

As for the idea of secret societies, cults and religions, used in the movie, instead of employing fresh ideas, LC1 tries to reach conclusion using traditional leads like Kathanar from a church and his likely contemporaries like Neeli, Chathan and Odiyan (from Kerala folk lore) struggling to merge sentiments, time zones and characters into an international set up restricted by geographical boundaries, passports and currencies. While the film tries to cross borders of space, Chandra seems suffocated and is reduced to a status of a Secret Agent with finite possibilities and an inherent fear about future. An unlikely close for a superhero.   

Jakes Bejoy has done a wonderful job with BGM and music scores.  However, I felt the overall feel at PVR where I watched the movie was spoiled owing to limited sound re-production system where the ambience felt noisy.  Reasonable cuts and ambient or merging music should have been employed at various points in the movie, instead of the sound production team continuing with new age/sci fi bgm in the entire movie lending to a feel of tiredness (owing to excess sound) towards the end of the movie.

Yes, Kalyani Priyadarshan has done a wonderful job. Her natural beauty and acting skills, added up with superhero traits (a big applause to Quy Truong, her body double) stood out distinct and clear echoing the sentiment of Woman Power and empowerment. I am sure Kalyani has huge potential to be an international star with the superwoman badge clinging to her for a long time. I would love to see Chandra team up with Hollywood superheroes in near future.

As for Naslen, he was charming and a simple uncomplicated neighbourhood boy willing to toe the line of a powerful female lead character, the Protagonist, Chandra.  I hope to see him grow into a strong character and a superhero, in the later editions of Lokah.  Nelsen surely is not a cameo, as played by Tovino representing Chathan or Charlie, the odiyan played by Dulquar Salmaan.  Roles of Nishanth Sagar as Venu and Vijayaraghavan as Prakash were memorable so was the one played by Chandu Salimkumar.

I believe, the best is yet to come, I look out for Moothon (Mammotty) to take the Chapters of Lokah forward following a fresh narrative. I hope he is not stuck up as Gandalf the Grey (who he is) of Lord of the Rings fame, ending up organizing meet ups as in the ‘Fellowship of the Ring’ and suffocating within the boundaries of a human world pulled as a puppet by Illuminati on Earth.  Human imagination is wide and Malayalam film industry has one of the finest acting and technical talents amongst them.  Produced with a budget of 30 Cr and hitting the 100 cr bracket, finance should not be a constraint to the producers for coming out with other chapters of the movie. Yet, I hope they should take more time to brain storm and not rush through with Production.  Let this be a watershed movement for the Indian Film Industry especially the VFX, Special effects, sound production, editing and technical teams to come out with a global best next time around.  

Vyasanasametham Bandhumithradikal (Grief stricken family-friends)

 

Vyasanasametham Bandhumithradikal (Grief-stricken- family-friends)

I am an avid movie watcher.  However, it is rare for me to be watching a movie twice within a span of 24 hours!  Vyasanasametham Bandhumithradikal is one such movie that I went on to watch more than once reinforcing my love for Malayalam movies and the quality they represent in the Indian film industry.

Directed and written by debutant S. Vipin, Vyasanasametham Bandhumithradikal  is a Malayalam dark comedy that revolves round the happenings in a typical hindu household where a funeral is set to take place.  The movie captures the essence of a Thiruvananthapuram village through its dialect, behavioral nuances, and visuals.  Cinematographer Rahim Aboobacker's framing and Ankit Menon's music beautifully enhance the setting and tone of the movie which has a run time of 114 minutes. The film blends situational humour and social satire with its characters depicting grief amidst power dynamics faced by individuals and families stuck between social, religious and a disturbing political discourse evolving in the state of Kerala.

The movie may be termed as a Situational Comedy ingrained with organic humour as it excels in overtly presenting characters such as one the played out by Baiju as a local Karayogam president and his petty posturing, mistaken identities and plots of some neighbours opposing the funeral location for arbitrary reasons. These moments create a comedic texture steeped in authenticity which evolves gradually through the movie as it reaches its crescendo.  Scenes develop in a slow yet organic manner with admixture of humour that hints at touching the chords of the viewers with subtle commentary on the current Kerala social ethos.

Anaswara Rajan portraying Anjali ensures a perfect space in the movie with sub stories germinating and subsiding around her. She may not be termed as a protagonist in the movie but somehow lands up as an “emotional anchor” in the midst of a satirical funeral.  Her character in a broad sense reflects a personality stuck in the middle of family expectations, social politics and voice that wavers between self-neglect, sacrifice and a plead for escape.  Mallika Sukumaran, as the grandmother is the focal character around which the movie revolves.  She portrays a broad minded character who is considerate of her grand daughter, tech savvy and abreast to changes around her in the society.  Anjali’s father, Azees Nedumangad beautifully portrays the character of a hapless head of a family, on whom the balancing act of a father, a son and person sandwiched between family customs and social practices in a typical Malayalee family.  However, towards the end of the movie his decision to allow his wife to perform the last rituals of his mother-in-law, tries to set a tone to a debate on the pressure of multiple caste/customary rituals and its validity in the current social stage.

The woman characters in the movie somehow can be related with the characters of Sreeja in Android Kunjappan Version 5.25 (2019) where they deal with male-dominated households with their invisible emotional quotient or perhaps as the character of Elsa in EE. Ma. Yau (2018),  a movie framed against the backdrop of death and funeral rituals, in which the characters navigate family and societal chaos.

A must watch malayalam movie.

jpkallikkal/2025

The Blooming Dawn of Onam

 

#visit Kerala #onam #Kerala Tourism

 

The Blooming Dawn of Onam

….Atham day is here and so are the celebrations.

Today 26^th August, 2025 marks the ‘Atham’ day of Onam celebrations. A state festival of Kerala, that unites Malayaless across the globe in a garland of Malayalee culture.  Onam is not just a festival—it is Kerala’s heartbeat, a ten-day symphony of colors, traditions, and collective joy. Rooted in myth yet alive in every home, it transcends religion and caste, uniting millions in celebration. Onam is Kerala reminding the world of harmony, abundance, and timeless cultural pride.

If you ever wish to see Kerala dressed in its most vibrant colors, plan your visit during Onam—the state’s grand harvest festival. And it all begins with Atham, the first day of this ten-day celebration.

Onam is more than just dates on the calendar; it is the moment Kerala awakens to festivity. Homes are swept, courtyards are prepared, and families gather to welcome the spirit of King Mahabali, the legendary ruler whose reign was marked by prosperity and equality. Myth says that Lord Vishnu, in his dwarf incarnation Vamana, set events in motion that led Mahabali to the underworld. Yet, such was his love for his people that he was allowed to return once a year—during Onam. Atham is the day his journey begins, and Keralites wait with open hearts to greet him.

For a traveller, the most striking sight during Onam is the Pookalam—intricate floral carpets laid out in courtyards. On this first day, the designs are simple, often made with the delicate Thumba flowers, but with each passing day, the Pookalam grows in size and complexity. By the time of Thiruvonam, the final day, these floral artworks are breath taking in their scale and beauty.

Visiting Kerala during Onam also means experiencing more than flowers. You’ll hear the rhythms of chenda drums, see processions with dancers and decorated elephants, and taste the first flavors of the festive season that will culminate in the grand Onam Sadya—a traditional feast served on banana leaves.

Onam is Kerala’s way of telling visitors: the festival has begun, joy is in the air, and every petal, drumbeat, and story is an invitation to join in. If you are in Kerala during Onam, don’t just be a visitor, step into it, walk barefoot on flower-strewn courtyards, and feel the magic of Kerala come alive around you.

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As well as can be

 

Image: Nattika beach/jpkallikkal©2025

As Well As Can Be

The clouds descend with a sweeping grace,
Fields surrender to a silver trace
Cattle wait near banyan’s base,
I wade through memories time cannot erase
The rain in flood, the sky in cry—
She trudges along, in waters knee-deep high,
Clutching calm in chaos nearby,
Staying adrift and dry, as well as can be.

A cough today, a cold tomorrow,
Life bends like branches of a windswept tree.
Still she rises with dawn’s soft glow,
Brewing tea, preparing the day’s decree.
Aches may whisper from knee or chest,
But she wears her strength like prayer beads, gently—
Serving needs, postponing rest,
And smiling through, as well as can be.

She has school, the lanes flood,
Unrelenting, she wades on puddles in test
But in every task, though silence speaks,
She dances the dance of duty to her best
No medal shines, no chorus cheers,
Yet she carries a quiet legacy
Through passing years and mounting gears—
Still doing all, as well as can be.

And in the hush when all is still,
A lamp flickers with steady plea.
My thoughts may stray, but not her will—
A flicker is enough for faith to see.
The world may bruise, the heart may sigh,
But love and hope walk side by side
Like monsoon clouds in a forgiving sky—
She silently whispers, as well as can be!

As well as can be/jpkallikkal/2025

Malamuzhakki Vezhambal – Seeking new habitations

 

Malamuzhakki Vezhambal – Seeking new habitations

Jaya Prakash Kallikkal

Sighting of a Malamuzhakki Vezhambal or the Great Hornbill (Buceros bicornis) in the coastal region of Ezhimalai in Kannur District in Kerala is rare and unique. Does it signify a serious change in climatic pattern in the state of Kerala?

Despite being a native of Kerala, life has kept me rooted in Delhi for several decades now, as I have grown up and settled in the sprawling capital of India.  However, this has not deterred my love for my home state and I continue to undertake regular visits to Kerala to understand the finer nuances of its nature, culture, spirituality and social ethos.

I love nature and over the past four decades, I have travelled extensively across Kerala.  The vibrant diversity in terms of topography, flora and fauna of God’s own country has been a revelation to me.  The long coastline on the Western side of the state, the elevated hill and mountainous terrain of Western Ghats flanked by massive forest ranges of Silent Valley, Parambikkulam and a plateau rich in bio diversity running across the state, makes Kerala a nature lover’s favorite destination.  Not to be left behind and lost amongst the crowds of an ever growing metropolis like Delhi, As any nature lover, I have over the years found salvation and rest in my home district Palakkad and my home state of Kerala.  

I was alarmed to read a recent news item relating to sighting of a Malamuzhakki Vezhambal or the Great Hornbill (Buceros bicornis) in the coastal region of Ezhimalai in Kannur District of Kerala.  The Great hornbill is a large, distinctive bird known for its impressive size, prominent casque (a bony growth on its beak), and unique calls. The bird which is predominantly frugivorous (meaning it primarily eats fruit) however also consumes small mammals, reptiles, and birds.  The bird is listed by the International Union for Conservation of Nature (IUCN) and protected under Schedule I of the Indian Wildlife Protection Act.  What does this news items signify?

 Malamuzhakki Vezhambal

My visits to Kerala over the past five decades have not just covered all the districts of my home state but have also traversed across the  evergreen and moist deciduous forests of Silent Valley, Nelliyampathy, Athirapally, Aralam and Parambikulam, places where the Great Hornbill has been sighted.  However, the recent sighting of this bird in the coastal zone of Ezhimala in Kannur District of Kerala is somewhat disturbing for me. Such migrations primarily point to Habitat Disturbance and Fragmentation, as deforestation and degradation of tropical forests especially in the Western Ghats could force, rare birds such as hornbills, to move in search of suitable nesting and feeding grounds. This can also be caused due to loss of large fruiting trees (key for nesting and diet) which can cause these birds to shift habitats temporarily or semi-permanently.  

The sighting also indicates to Climate Change Impacts in the state, as shifts in temperature and rainfall patterns affect fruiting cycles of trees, pushing hornbills to follow new seasonal fruiting zones. Increases in extreme weather events may also be reasons for disruption of breeding cycles and nesting sites, prompting movement of these rare birds to more stable areas.   Resource Tracking (Nomadism) could be another reason for Hornbills, which are frugivores, who tend to follow the phenology of fruiting trees, leading them to migrate if fruiting times and tree distributions change (which is being witnessed in the state of Kerala) due to environmental shifts leading these birds to adopt a more nomadic or altitudinal movement pattern.  Adaptive behaviour and Survival Strategies revealing the growing ecological stress on the species could be another reason that has caused rare bird such as Malamuzhakki Vezhambal to seek new pasture in the coastal region of Ezhimalai.

I feel that altered or new migratory or movement patterns in respect of the Great Hornbill are clear red flags of ecosystem stress, potentially driven by climate change, habitat loss, and changing food availability in the state of Kerala. This sighting also signifies the need for urgent ecological assessments and adaptive conservation measures to protect this iconic bird and the forests it sustains through seed dispersal.  At a broader level apart from the conservation Implications and changing patterns that challenge existing protected area boundaries and conservation strategies. Governments and conservationists must now consider corridor connectivity, landscape-level conservation, and monitoring of such patterns across wider ranges.

We are witnessing heavy and excess rainfall that is leading to frequent floods, landslides and change in climatic patterns in the eco sensitive zones leaving this state with a depleted forest cover and altered land holding patterns.  Besides a man animal conflict the state is today faced with a daunting task of reassessing its environmental goals and making corrective changes. 

Ezhimalai with its awesome shoreline (a large part of which is now a controlled area), a towering lighthouse and a sprawling forest range may be a new breeding ground for Malamuzhakki Vezhambal but the alarm signs are clearly out.  In the face of climate change, not just birds or animals but human habitations should also seek a new recourse in the way life needs to be carried on in this beautiful part of the world. 

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Crunchy Tales from here and there: SNR Chips, Alathur, Palakkad

 

Crunchy Tales from here and there: SNR Chips, Alathur, Palakkad

Kerala may be the land of backwaters, elephants, and houseboats, but for those who know the place well,  it's also the kingdom of snacks—and few do it better than SNR. In this little corner of Palakkad, tradition meets taste in the most delicious way possible.

History of SNR dates back to 1947, when Shahul Hameed opened shop for banana chips as a small venture at Alathur. He hand chopped a local variety of banana (Nendra) and used home made coconut oil to make chips that not only tasted good but also found favour with gourmets of those times.  Story of SNR did not stop there. Packs of SNR banana chips caught attention of political heavyweights too and it started travelling out of he state as a souvenir. It is said that even Prime Minister Indira Gandhi was gifted a Pack of SNR banana chips by political leaders from Kerala.

A Pitstop You Won’t Forget`

While the original SNR Chips is located inside Alathur market  you’ll find an unassuming shopfront, usually buzzing with locals picking up their weekly stash of crispy banana chips, tapioca bites, or spicy mixtures. However, keeping up with times SNR has started operating from a modern outlet adjacent to the National Highway at Chithali also. The shop set to modern ambiance also serves tea, juices and snacks apart from its trademark SNR banana chips.

Step inside and you’ll be greeted by warm smiles and even warmer flavors. Made using locally sourced Nendran bananas and fried to perfection in pure coconut oil, these chips carry the unmistakable soul of Kerala. There’s no rush here—only the slow, deliberate art of making food that feels like home.

A Taste of Culture in Every Bite

Beyond its crispy offerings, SNR Chips is a slice of Kerala’s cultural tapestry. Every packet is a tribute to the land’s agrarian roots, its unhurried pace of life, and the age-old culinary wisdom passed through generations. It’s rural entrepreneurship at its finest—rooted in local produce, driven by community spirit, and wrapped in the flavor of nostalgia.

Why Travelers Love It

For the hungry wanderer, SNR is the perfect souvenir stop. Forget the factory-made snacks at airports—here, your chips come with a story, a face, and a place. They’re the kind of snacks that travel well, not just in bags, but in memories.

So, if you’re exploring Palakkad, don’t just chase waterfalls or temple trails. Make a crunchy detour. Walk into SNR Chips, grab a warm packet off the shelf, and take a bite. You might just taste the essence of Kerala—salty, sweet, and impossibly satisfying.

Sometimes, the best part of your journey is what you eat along the way…