38 Years Of Thoovanathumbikal: A Box Office Flop That Became An Evergreen Cult Classic
On July 31, 1987, Thoovanathumbikal quietly arrived in theatres, only to be met with lukewarm reception and commercial disappointment. But 38 years later, this P. Padmarajan film is regarded not only as one of Malayalam Cinema’s most profound love stories, but also as one of the finest films in Indian cinematic history.
Written, scripted, and directed by Padmarajan, Thoovanathumbikal is a meditation on duality, desire, and human fallibility. Loosely based on his novel Udakappola, the film follows the emotionally intricate journey of Jayakrishnan (Mohanlal), a Thrissur-based bachelor who leads a paradoxical life: a grounded, traditional man at home and a flamboyant bon vivant in the city.
His life takes a turn when he crosses paths with two women, Radha (Parvathy), a distant relative from his village, and Clara (Sumalatha), a mysterious and dignified escort introduced to him through a morally ambiguous friend.
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The film unravels Jayakrishnan’s emotional turmoil as he attempts to reconcile his inner values with the unpredictable tides of love and longing. Padmarajan’s writing crafts these relationships with a rare intimacy and restraint, where longing is often expressed through silence, and rain, a recurring motif, becomes a silent observer to Jayakrishnan’s moral dilemmas and moments of clarity.
Shot predominantly in Thrissur and Ottapalam, including the iconic Vadakkumnathan Temple, Sree Kerala Varma College, and Peechi Dam, Thoovanathumbikal uses its settings to root the story in a deeply Malayali sensibility.
The Casino Hotel’s Sharabi Bar, where one of the film’s most memorable scenes was shot, has since become an informal pilgrimage spot for cinephiles.
Perumbavoor G. Raveendranath’s music, paired with Sreekumaran Thampi’s lyrics (after ONV Kurup’s initial poems were dropped), gave Malayalam cinema two timeless melodies—“Megham Poothu Thudangi” and “Onnam Raagam Paadi.”
The background score by Johnson, aka Johnson Maash, particularly the “Clara-Jayakrishnan” theme, remains etched in collective memory and has been reused in later films like Beautiful (2011).
When it was first released, Thoovanathumbikal was too unconventional for its time. It didn’t conform to the then-prevailing ideas of romance or morality.
It was an experimental, emotionally layered film exploring themes like virginity, guilt, sexual awakening, social taboos, and the quiet grace of letting go.
Padmarajan himself later said that while the film failed to resonate with audiences initially, he was confident it would eventually find its space—“Good films are always recognised after years,” he said.
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Today, Thoovanathumbikal has found its space, firmly, irrevocably. It is studied, quoted, meme-ified, and celebrated across generations. Its dialogues (“Clara enna peru kettappol thanne oru theerumanam aayirunnu…”) and visual metaphors continue to resonate with the audience.
Mohanlal’s performance—balancing naivety, charisma, and quiet introspection—along with Sumalatha’s Clara, a rare portrayal of grace and agency in Malayalam cinema, are remembered as some of the finest in their careers.
Radha’s compassion, Jayakrishnan’s moral struggle, Clara’s quiet dignity, the rains of Thrissur, each element has become part of the larger cultural memory. And most are now waiting for its re-release to truly experience its charm.
That the film ends not in a melodramatic union or tragedy, but in a mature acceptance of life’s unpredictability, is precisely why Thoovanathumbikal continues to grow in relevance.
38 years later, Thoovanathumbikal remains untouched by time.
