Kettiyollaanu Ente Maalakha (2019), directed by Nissam Basheer, is a Malayalam film that explores the life of a naive and innocent man, Sleevachan, who navigates his way through the institution of marriage. While the film was lauded for its portrayal of a simpleton husband who learns to care for his wife, it has also sparked considerable debate for the way it normalizes marital rape, particularly within the context of the socially accepted boundaries of marriage in a patriarchal setup. From a politicosocial perspective, the film glosses over the severe and complex issue of sexual consent within marriage, subtly perpetuating dangerous gender norms while packaging it as a heartwarming tale of self-awareness and growth.
Sleevachan, played by Asif Ali, is a man raised in a protective and conservative environment. Having little experience with women, he marries Rincy, played by Veena Nandakumar, a confident and modern woman. The central conflict of the film arises when Sleevachan, unaware of the emotional and physical nuances of intimacy, commits marital rape. This act is framed within the film as a product of his ignorance rather than a serious violation of consent.
The narrative then shifts toward Sleevachan’s realization of his misstep and his subsequent attempts to make amends. While the film seems to focus on Sleevachan’s journey of becoming a more empathetic partner, the framing of this transformation is highly problematic, as it trivializes the seriousness of the crime.
In India, where marital rape is not recognized as a criminal offense under the law (except in cases involving minors), the film subtly reinforces the idea that sexual violence within a marriage is a private, forgivable mistake rather than a crime. Sleevachan’s ignorance and lack of sexual experience are used to justify his actions, and the focus is shifted to his remorse rather than the trauma faced by Rincy.
Rincy’s character, while initially showing signs of trauma and discomfort, eventually forgives Sleevachan, after his attempts to redeem himself by becoming a more caring husband. This forgiveness is portrayed as a form of marital harmony, dangerously suggesting that the emotional and physical violence inflicted upon her is somehow resolvable by the husband's kindness or change of heart. This narrative dilutes the seriousness of the issue by embedding it within the framework of a "love story," thus normalizing the violation of women's bodily autonomy.
The film reflects broader patriarchal norms prevalent in Indian society, where women are expected to endure sexual and emotional subjugation in marriage. Marital rape is normalized in part due to traditional notions of a wife’s "duty" to her husband. The film inadvertently aligns with these regressive gender norms by not presenting Rincy’s trauma as something requiring justice but rather as something that is part of the marital learning process. The lack of legal recourse or even a strong moral condemnation for Sleevachan’s act reflects the social acceptance of gendered violence within marriage in Indian society.
The central issue is the way in which marital rape is dismissed as ignorance and inexperience, rather than a manifestation of deeply entrenched power imbalances. By treating Sleevachan’s sexual assault as an awkward misstep instead of a serious violation of human rights, the film downplays the significance of consent in marriage. This is especially harmful given the lack of public discourse and legal protection for victims of marital rape in India.
Cinema plays a powerful role in shaping public opinion, particularly in a society like India where movies often act as mirrors to cultural norms and social expectations. By portraying marital rape as a forgivable offense and focusing on the perpetrator’s redemption rather than the victim’s rights, Kettiyollaanu Ente Maalakha runs the risk of reinforcing harmful attitudes toward consent and bodily autonomy. It not only normalizes the act of sexual violence within marriage but also perpetuates the notion that women are expected to forgive and adjust to their husbands’ mistakes.
Furthermore, the absence of any legal or moral reckoning for Sleevachan’s actions undermines the severity of marital rape as a human rights violation. The film could have used its platform to spark critical discussions about consent, the rights of women within marriage, and the need for legal reform, but instead, it chose a route that aligns with the regressive mindset prevalent in many parts of Indian society.
Kettiyollaanu Ente Maalakha is an example of a film that, despite good intentions, fails to address the critical issue of consent and the rights of women in marriage. By presenting marital rape as a forgivable "mistake" rather than a serious crime, the film risks perpetuating dangerous societal norms. While the narrative of Sleevachan’s redemption may seem touching, it is built on a foundation that undermines the trauma and rights of Rincy as a victim of sexual violence.
In a country where marital rape is still not criminalized, films like this have a responsibility to approach such issues with sensitivity, awareness, and a commitment to challenging the status quo rather than reinforcing it. The film’s failure to do so represents a missed opportunity to engage with an urgent issue in India’s gender discourse.
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