Hybridized Hegemonies: The Changing Face of the Male Protagonist in Malayalam Cinema

Abstract

In cinema, hegemonic masculine behaviour is exhibited by the traditional hero-the tough physically attractive male who displays the normative values of the masculine ideal. Hegemonic masculinity can even be demonstrated by a hero of lower social order by adopting certain stylistic features – being muscular, violent, dominating, and sexually assertive. A study of select Malayalam films produced post-2015 – Varnanae Avashyamundu, Vikruthi, Home- however, reveals a different kind of male protagonist – physically and emotionally crippled, diffident, ineffectual, blustering, unattractive, unimpressive, and victimized. This paper borrows from the theory of ‘hybrid’ masculinity proposed by Demetrius and ‘inclusive’ masculinity as put forth by Anderson to argue that since hegemonic masculinity is culturally and historically situated and reconfigures itself by appropriating and embodying diverse elements from other variants of masculinity, this cinematic trend demonstrates the shifting ideals of hegemonic masculinity in Malayalam cinema. The hero strategically borrows elements from the styles associated with marginalized masculinities, and the ‘female’ side of the male protagonist – being unathletic, compassionate, nurturing, shy, emotional – is eventually not erased or explained away, but is applauded or accepted. Demetrius’ idea of ‘dialectical pragmatism’, further, describes how hegemonic masculinity appropriates elements of marginalized and subordinated masculinities to maintain existing systems of power and dominance. This paper, however, goes beyond Demetrius’ theory and argues that though patriarchy is not eroded nor are women emancipated, since the structures of power remain fundamentally unaltered, this model of male protagonists bucks the trend and counters the growing glorification of toxic manliness in Malayalam cinema with its display the anti-feminine rhetoric. The paper, thus, seeks to investigate the hybridity in the heroic code of Malayalam cinema and argues that the stylized variations, wherein power and control eventually rests with the male, make hegemonic masculinity not inclusive but simply plural.