New Delhi- As Dalit History Month commences, Chennai's Neelam Cultural Centre launched the "P.K. Rosy Film Festival" on April 2 under the stewardship of acclaimed filmmaker Pa. Ranjith. This three-day cinematic tribute honors P.K. Rosy, Malayalam cinema's pioneering first actress, though notably excludes screening her historic 1928 debut film Vigathakumaran - tragically destroyed by casteist mobs during its initial exhibition, leaving no surviving prints.
While Rosy's legacy finds some recognition, fewer know about J.C. Daniel Nadar (1900-1975), the visionary now revered as Father of Malayalam Cinema. The multitalented Daniel served as actor-director-producer-cinematographer-editor for Vigathakumaran, his sole cinematic achievement that brought both fame and violent caste persecution. Their shared tragedy later inspired the 2013 biopic Celluloid.
Born in Agasteeswaram and educated at Thiruvananthapuram's prestigious Maharajah's College, Daniel displayed extraordinary intellect - publishing Indian Art of Fencing and Sword Play at just 15. Recognizing cinema's potential to popularize Kalaripayattu, he embarked on an audacious mission when most Keralites remained unaware of the medium.
Denied entry at Madras studios, the undeterred Daniel impersonated an educator to access Bombay's film sets. He mastered filmcraft through sheer observation before returning to Kerala. He liquidated 108 acres of ancestral land (worth ₹4 lakh then) to establish Travancore National Pictures in 1926.
The silent film Vigathakumaran (1928) became a landmark:
Daniel played the male lead while P.K. Rosy, a Pulaya Dalit woman, portrayed a Nair heroine - a radical act
Daniel served as director, writer, cinematographer and editor simultaneously
Vigathakumaran (The Lost Child) is a dramatic tale of kidnapping and redemption. The story follows Chandrakumar, the son of a wealthy Travancore family, who is abducted by the villain Bhoothanathan and raised as a plantation laborer in Ceylon (Sri Lanka). After rising to become superintendent under a British estate owner's patronage, Chandrakumar meets Jayachandran (a distant relative robbed by the same villain) and returns to Travancore. The climax reveals Chandrakumar's true identity through a childhood scar during a rescue mission to save Jayachandran's love interest (later revealed to be Chandrakumar's sister) from another kidnapping attempt, culminating in a joyful family reunion. The socially progressive silent film blended themes of class mobility, colonial dynamics, and familial bonds - revolutionary for its era.
The November 7, 1928 premiere at Capitol Theatre sparked caste fury:
Upper-caste mobs stoned the screen, outraged by a Dalit playing "their" woman
Rosy was barred from entering her own film's screening
Her home was torched, forcing her to flee Kerala disguised as "Rajammal". She fled with the help of a truck driver, whom she is known to have married later.
The movie was also screened in Alleppey at the Star Theatre. Since it was a silent movie, there was an announcer at the theatre who would explain the story and the situation. Alleppey being one of the most important port towns in Kerala during that time, the audience were more liberal. They received the movie with excitement. There was a minor glitch once, when the screen faded and the audience booed.
After the announcer explained that some minor problems might occur since this was the first Malayalam movie ever made and screened, the audience welcomed his statement with applause. While Alappuzha's liberal port-town audience applauded, other screenings in Quilon/Trichur witnessed riots destroying projection screens. The financial disaster left Daniel bankrupt.
Following the violent boycott of his film, J.C. Daniel faced complete financial ruin. Forced to sell all his film equipment and drowning in debt, he had to shutter his pioneering studio permanently. The once-celebrated filmmaker spent his remaining years in obscurity as a dentist in Palayamkottai, Tamil Nadu - a tragic fall from grace for Malayalam cinema's founding father. The Kerala government cruelly denied him artist pension benefits, citing his Tamil Nadu roots as disqualification. He died in complete anonymity on April 27, 1975, his monumental contributions to Indian cinema erased from public memory.
For three decades beginning in 1960, eminent film journalist Chelangatt Gopalakrishnan waged a lonely battle to restore Daniel's legacy. Through meticulously researched books and articles, Gopalakrishnan proved conclusively that Vigathakumaran was indeed Malayalam cinema's first feature film, with Daniel serving simultaneously as its director, producer, cinematographer and lead actor - a remarkable feat of cinematic multitasking. His scholarship dismantled the established narratives that had marginalized Daniel's achievements.
The Kerala government initially dismissed Gopalakrishnan's campaign with shocking insensitivity. Officials argued that Daniel couldn't be considered Malayali since he was born in Agasteeswaram, Tamil Nadu - a technicality they used to deny posthumous honors. In a particularly callous bureaucratic stance, authorities suggested Daniel's family should seek any potential pensions or recognition from Tamil Nadu instead, effectively disowning Kerala's own cinematic pioneer.
Only through Gopalakrishnan's relentless efforts did Daniel finally receive belated justice towards the end of the 20th century. The Kerala government was compelled to acknowledge Daniel as a Keralite resident and officially confer upon him the title "Father of Malayalam Cinema."
The Department of Cultural Affairs, Government of Kerala instituted the J. C. Daniel Award in honour of him in 1992. The award, a part of the Kerala State Film Awards is to honour lifetime achievements in outstanding contributions to Malayalam cinema.
This hard-won recognition came 64 years after Vigathakumaran's release and one and a half decade after Daniel's death - a shameful delay in honoring one of Indian cinema's most significant pioneers. The campaign not only restored an individual's legacy but corrected a historical wrong perpetrated by caste prejudice and bureaucratic apathy.
The acclaimed biographical drama Celluloid, directed by Kamal and released in 2013, chronicles the extraordinary life of J.C. Daniel, the forgotten pioneer of Malayalam cinema. Prithviraj Sukumaran delivered a powerful performance as Daniel, while newcomer Chandni portrayed P.K. Rosy, Malayalam cinema's first actress, bringing their tragic yet inspiring story to life. The film meticulously recreated the immense challenges Daniel faced while making Vigathakumaran (1928) - from technical hurdles to societal resistance.
Principal photography for Celluloid commenced in November 2012, with an unexpected viral sensation emerging when the film's poster - designed by 16-year-old student Aswin - took social media by storm. Upon its February 2013 theatrical release, the biopic garnered unanimous acclaim from both audiences and critics alike.
A significant portion of the narrative focused on Rosy's groundbreaking but short-lived acting career, highlighting how caste discrimination cut short the journey of Malayalam cinema's first female star. Drawing heavily from Chelangatt Gopalakrishnan's authoritative biography Life of J.C. Daniel, the film serves as both a historical document and cinematic tribute. Through its authentic period setting and emotional depth, Celluloid successfully revived the memory of these two pioneers who shaped Kerala's film industry against impossible odds.
The film courted significant controversy for its alleged portrayal of renowned civil servant-writer Malayattoor Ramakrishnan and former Chief Minister K. Karunakaran. While Karunakaran wasn't explicitly named, Malayattoor's character was depicted as casteist, opposing Daniel's recognition as Malayalam cinema's pioneer because of his Nadar Christian identity. Director Kamal further fueled the debate by claiming in interviews that these figures deliberately suppressed Daniel's legacy, with actor Siddique's character representing Malayattoor - though names were omitted to avoid direct confrontation.
Celluloid triumphed at the Kerala State Film Awards, securing seven honors including Best Film and Best Actor for Prithviraj Sukumaran. With support from All Lights Film Services (ALFS), the project gained international recognition while becoming a box office success. Beyond entertainment, the film serves as an important historical corrective - emotionally chronicling Daniel and Rosy's struggles while resurrecting a deliberately erased chapter of Malayalam cinema's origins. Their story of artistic ambition crushed by caste prejudice continues to resonate deeply with viewers, transforming the biopic into both a memorial and a call for justice.
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