International Review of Psychiatry, June 2009; 21(3): 224228
Mental health in Tamil cinema
R. MANGALA & R. THARA
Schizophrenia Research Foundation, West Anna Nagar, Chennai, India
Abstract
Tamil cinema is a vibrant part of the lives of many in south India. A chequered history and a phenomenal growth have made
this medium highly influential not only in Tamil Nadu politics, but also in the social lives of the viewers. This paper provides
an overview of the growth of Tamil cinema, and discusses in detail the way mental health has been handled by Tamil films.
Cinema can be used very effectively to improve awareness about mental health issues.
Introduction
The state of Tamil Nadu is on the south-east coast of
India bordering the Bay of Bengal with a population
of 62,405,679 (as per 2001 census data). The capital
of Tamil Nadu is the city of Chennai (formerly
Madras), one of the early British colonies and a seat
of culture and arts. The good infrastructure and the
presence of many talented professionals in the art of
film making have made Chennai a hub of the film
industry.
Tamil is spoken as a native language by 62 million
people in India. It is the official language of the state
of Tamil Nadu, and is the majority language in
northern and north-eastern Sri Lanka. During the
British rule of India, Tamil-speaking indentured
labourers were sent to many parts of the British
Empire where they founded Tamil-speaking com-
munities. Today, their descendants form sizeable
Tamil-speaking populations in Singapore, Malaysia,
Mauritius and South Africa. The total Tamil-
speaking population worldwide, including second-
language speakers, is estimated to be around 74
million people (www.nvtc.gov).
This paper provides a peek into the historical facets
of the Tamil film industry and provides a description
of how many disorders of the mind such as
psychoses, depression and dissociative states have
been portrayed in Tamil movies. It also explores
ways in which this powerful medium can be utilized
to promote mental health and increase awareness.
History of Tamil cinema
In 1897, the first motion picture came to Chennai
soon after the Lumiere brothers successfully
screened the first motion picture in France dissolving
Correspondence: Dr R. Mangala, Schizophrenia Research Foundation, R/7A, North Main Road, West Anna Nagar, Chennai 600101, India.
E-mail: scarf@vsnl.com
ISSN 09540261 print/ISSN 13691627 online 2009 Institute of Psychiatry
DOI: 10.1080/09540260902748068
boundaries between nations. The Victoria public hall
became the first venue for this historic hallmark event
in Chennai. A major revolution in the culture of
Tamil Nadu, causing profound impact in all spheres
of life, and in the psyche of Tamils had just arrived,
silently.
The Tamil (speaking) film industry did not offi-
cially come into existence till 1931. However,
Chennai has several firsts to its credit. The first
theatre ever built in southern India was the Electric
Theatre (now defunct), in 1900, in Chennai.
However, the first cinema theatre built by an
Indian (Mr Vengaiah) in south India, the Gaiety
Theatre, functions even now in Chennai.
The success of Harish Chandra (1912, made in
Bombay), encouraged businessmen in Tamil Nadu
to enter the movie business. Keecha Vadam (1917)
the first ever film made in South India marked the
birth of the Chennai-based Tamil film industry led
by Nataraja Mudaliar and his film company, The
Indian Flim company, which was established in 1916
at Millers Road, Purasaiwalkam, Chennai (Anandan
2004). Chennai remains the epicentre for south
Indian cinema today.
More than 100 silent films were made from 1917 till
1931, before the first talkie spoke Tamil on screen. Of
them, only one film, Marthanda Varma (Baskaran,
2008) is available today in the National Flim Archives
(NFAI), Pune, Maharastra. The talking motion pic-
tures in Tamil from 1931 to 1935 were all mythological
in content. Interestingly, the first Tamil talkie was
actually multilingual, each actor speaking his/her own
mother tongue (Anandan, 2004).
Contemporary themes slowly and stealthily
trickled into Tamil cinema from 1936 onwards.
A lawyer turned film-maker K. Subramanian

perceived cinema as a tool for mass communication
and education. His Thyaga Boomi (1939; Tamil
Electronic Library, 2008) is still remembered for its
powerful message about freedom struggle and his
own struggle with the British Government to get the
film screened.
The stage has always had a very strong presence in
Tamil Nadu and many of the popular actors and
writers had their grounding in Tamil drama. Their
musical talent led to the predominance of historical/
mythological themes when they stepped into cinema.
Over 5,000 films have been made in Tamil from
1931 onwards. There has been a marked increase in
the number of films over the years. But films on
mental health issues continue to be negligible in
number, unlike their western counterparts.
Alcohol abuse
Possibly, the first ever film that dealt with any mental
health issue and unknowingly in the guise of a social
issue was Sathi Leelavathi (1936; Anandan, 2008)
which highlighted the evils of alcohol abuse. Alcohol
use was associated with negative images of anti-
heroes leading to families breaking up and sorrowing
wives. The earlier heroes portrayed a very clean and
honest do-gooder image which excluded substance
abuse. Among other things, this image helped them
gain political mileage, as in the case of the very
popular actor-turned chief minister M.G.R.
Ramachandran. This image of the lead man in
films however gradually changed to more violent,
aggressive and law-breaking images.
A realistic picture of alcoholism and its social and
family ramifications can be seen in two films: Punar
Jenman and Oru Manithanin Kadhai (A Mans
Story). The latter film, based on a novel by writer
Sivasankari and envisaged as an awareness-building
attempt, was provided tax exemption by the
Government of Tamil Nadu and hence screened in
theatres all over the state at lowered ticket rates. It is
only in recent times that the medical model of
alcoholism has been recognized in films.
Psychotic disorders
The burgeoning of the Dravidian movement in
Tamil Nadu was associated with the production of
films with a social message. Parasakthi (The Divine
Mother), a trendsetter in this series, brought to the
fore a great actor Sivaji Ganesan and screen play-
wright M. Karunanidhi, who later went on to
become the Chief Minister of Tamil Nadu. While
the movie is still remembered for radical political
rhetoric by the Tamil speaking people, it shows Sivaji
Ganesan acting as a mentally ill person on the
streets, with all possible stereotypes tagged. He
Mental health in Tamil cinema 225
laughs, shouts and makes funny facial expressions/
body movements which earned him the nick name of
Kirukku Anna meaning Mad Brother from a
widowed woman who did not know that he in fact
was her real brother. She sympathized with him as he
was mad and fed him, but was cautious about
allowing him to hold her child.
Some progress has been made in the portrayal of
psychotic disorders with films like Kudaikul Mazhai.
Narrated from the point of view of the protagonist,
the film evoked mixed responses, apart from being
commercially unsuccessful. While some viewers
could appreciate the confusion and turmoil in the
persons mind, there were others who failed to obtain
more clarity on the subject. It was a genuine attempt
to portray paranoid schizophrenia in a realistic
fashion, however.
Persons with paranoid and other personality
disorders have been portrayed in several films as
loathsome and appalling characters, subtly encour-
aging the viewer to consider this as madness like the
lead male characters of the flims, Puriyatha Puthir
(Incomprehensible Puzzle, 1990) and Kalki (also
name of lead female protagonist, 1996). These
characters also end up having a breakdown towards
the end, a befitting punishment for their behaviour as
seen in the lead female character of Pudhupudhu
arthangal (Newer Meanings, 1989) and lead male
character in Satham Podathey (Dont make noise,
2007).
Amnesia
Amnesia has always been a hot favourite with
Tamil film makers and has been highly dramatized
with wrong scientific connotations. A consistent
wrong message has been that amnesia (often
retrograde) can be caused and cured by either a
head injury or an emotional trauma. This has been
exemplified in films such as Koondu Kili (Caged
Parrot) made in the 1950s, and Moonram Pirai
made in the 1980s. In the latter film, an herbal
concoction completely wiped out amnesia of long
standing duration. It will be appropriate to add
here that cinema has always favoured traditional,
religious or alternative forms of treatment for
mental disorders, thereby reiterating the magico-
religious explanatory model of mental illness held
by many in this part of the world.
There have also been authentic descriptions of
amnesia and their sequelae on patients and families
(Vetrivizha, made in 1989, Gajini in 2005). The
viewing public appear to associate amnesia with
organic defects in the brain and identify better with
the problems posed by defective memory states.
226 R. Mangala & R. Thara
Hysterical states
This is yet another popular theme for film makers. In
the 1970s, Grahapravesam dealt with in some detail
the psychosocial aspects of hysterical seizures, albeit
as the result of a flaw in the persons character, who
ultimately had to repent for her misconduct in order
to achieve remission. This message served little to
increase public understanding of the dynamics of
such disorders and led to viewers despising this
character.
Traditionally, it is believed that gods take the form
of humans and come to this world in an hour of need
to destroy evil. After some time, in cinema, gods taking
human forms were replaced by humans being pos-
sessed by gods and spirits. This again has strong
cultural roots and is a common occurrence in religious
festivals. The belief also includes possession by evil
spirits and any unacceptable behaviour was considered
as effect of such possessions. One film in recent times
which was based on possession syndrome was
Chandramukhi (2004). The commercial success of
the film and the popularity of the lead cast reinforced
peoples beliefs in this issue. Several young girls
reported to hospitals with similar presentations that
could be called Chandramukhi syndrome. The film
also showed a psychiatrist endorsing magico-religious
methods and even putting his own life in jeopardy to
ward off the evil spirit.
Depression/anxiety
Neither anxiety nor depression has featured as a
diagnosable condition on screen.
Loss of a child or a dear one, guilt feelings,
depression secondary to alcoholism, have all been
well described (En Bommukutti Ammavukku, 1988).
Other films have traced the natural course of mild to
moderate depression realistically allowing the audi-
ence to experience the melancholy of the character
involved. They include Engeyo Ketta Kural (1982),
Arilirunthu Aruvathu Varai (1979) and more recently
Veyil (2006).
While anxiety per se does not lead to much
empathy, Thenalis theme of post-traumatic stress
disorder with comorbid phobic anxiety in the lead
character, blended with humour was well
appreciated.
Surprisingly, mania has not yet found a place on
the silver screen yet. However, every violent criminal
who rapes and kills is described as a person with
maniac psychosis.
Songs are an integral part of Tamil cinema (Indian
cinema) and the film music industry here is huge.
Depression has found expression in several songs
labelled philosophical in several films over the
years. Kannadasan a legendary contemporary poet
penned several songs which not only described
emotional pain and suffering but also incorporated
elements of counselling, autosuggestion and were
motivational. These songs have inspired, influenced
and guided many individuals in their lives. Another
notable poet who shares honours with Kannadasan is
Vaali. Several of their lyrics are still being used by
political parties in their public meetings.
Parenting
Parentchild issues have formed the plot for several
interesting films in the industry. Veyil (2006) dealt
with the battered body and soul of a son who fled
from a punitive father and returned penniless 20
years later to an unforgiving father and an affection-
ate younger brother. The sequelae of punitive
parenting have been subtly depicted in the film
Santhosh Subramaniam (2008) featuring a strict
authoritarian father and a loving yet rebelling son.
Conflict in joint families has also been a popular
theme. Excessive emotional dependence on a child
even after her/his marriage is not infrequently seen in
many joint families and has naturally found its way
into films (Poove Poo Chuda Vaa, Anbulla Appa).
Mother and wife vying with each other for the
attention of the man of the house leads to lot of
disharmony in many homes even now (Naan Peththa
Magane (1995)).
Quite a few films in Tamil have discussed sibling
rivalry in a fairly authentic manner, albeit with a lot
of emotional overtones (Uyirile Kalandhadhu, 2000).
Most films barring a few had exaggerated depictions
with sad disastrous endings. However, they effec-
tively conveyed the importance of parenting to the
viewer. At different times each of these films served
as standards against which parents judged themselves
and their children.
Suicide
The film Parasakthi (mentioned earlier) also talks
about suicidal attempt being a punishable offence.
When the widowed sister tries to kill herself the
mad brother rips off his mask and argues for his
sister and ridicules the system trying to punish her.
The fight is still on for repealing Article 309 from the
Criminal Penal Code in India 56 years later.
Suicide enjoys a unique place in the history of
Tamil kings and in Tamil literature. Ramayana and
Mahabaratha have highlighted altruistic suicide as
the ultimate sacrifice one can make for the sake of a
family, town or country, according to Manu Dharma.
Thirukkural, emphatically states that losing ones life
is better than losing several other virtues.
Suicide has been the on-screen solution for lovers
unable to get married due to opposition from families

(most marriages are still arranged ones in India) for
various reasons. One such film, Kilinjalkal (1981),
showed the couple killing themselves when their
marriage was prevented on religious differences
between the families. When this movie was running
successfully in the theatres, a teenage couple killed
themselves in a hotel room, leaving a note saying As
we are unable to live like the lovers of Alaigal
Oyvathillai (another love story where the pair disown
their respective religions and leave their town for
good), we wish to die like the lovers of Kilinjalgal!
This was sensationalized in the newspapers then,
contributing further to the full houses in the theatres.
Parents who possibly undergo a change of heart on
seeing these tragic films sadly never make news.
Punnagai Mannan (1986) was another box office hit
which was based on lovers suicide where only the
woman died and the man ended up in jail. Uyir
(2007) depicted a husband committing suicide when
he came to know of his wifes adulterous intentions.
Vaname Ellai (1992) can be considered a propa-
ganda film against suicide which revolved around five
people coming together to commit suicide to register
their anger and protest against society due to personal
trauma. Their suicidal plan and their change of mind
have been well packaged for a commercial film.
Modes of treatment
The shift of emphasis from magico-religious to
neurobiological theories (explanatory models) in
the scientific world is yet to reach the tinsel world
of Tamil cinema.
Kalyani made in the late 1950s, is possibly one the
earliest films which touched upon mental health in the
narration. It dealt with marriage between a person with
mental illness/mental retardation, (the distinction not
being very clear on screen) and a normal woman and
how she manages to cure him by her tireless efforts.
The focus of the film was to highlight the resilience
and inner strength of chaste, devoted wives, but it
inadvertently carried a tagline that marriage can cure
mental illness. The same theme was depicted in Pennin
Perumai, and with greater emphasis and larger impact
in Engiruntho Vanthal in the late 1960s. This belief
exists strongly in society and has been perpetuated in
films over the years. Labour pains during delivery
expelled not only the uterine contents but also the
mental illness from the heroines mind in Kalyana
Galatta (1998) and also wiped away all memories of
the period of illness.
Herbal medicines have also been projected as
remedies for several forms of illness in several films.
Sethu showed a psychiatrist suggesting herbal and
religious methods to get better results. Allopathic
medication generally does not feature in films in a
significant way.
Mental health in Tamil cinema 227
The two issues in psychiatry that have suffered
maximally in the hands of Tamil film makers are
ECT and mental hospitals. The damage done to
these issues by films is so much that psychiatrists
suggesting ECT are viewed with suspicion. ECT is
shown as a barbaric act of punishment or as a means
to get even with enemies. In film, anyone including
ward boys of hospitals can subject a person to ECT
[Aararo Aariraro (Lullaby), 1989]. It can be used to
make a normal person mad [Priyanka (Name), 1994]
and render them useless.
Mental hospitals have always been depicted as
places where a normal person can be put to be
punished. Doctors as a rule are either crazy or
wicked. Respectable psychiatrists are rare
[Navarathri (The nine nights), 1964]. People can
also feign madness to hide in a mental hospital and
the psychiatrists are unable to diagnose malingering.
Most mental ailments on screen get cured instantly
when a song from the sufferers past is rendered
soulfully. It can reach deep into the sulci of the brain
and remove the cobwebs of mental illness to restore
clarity in mind.
Mental retardation
The demarcation between mental illness and retar-
dation has never been made on screen. They are all
one and the same, leading to a common belief that all
mentally ill people are intellectually deficient. The
one film which dwelled upon mental retardation in
two adults and did some justice to it was Meendum
Oru Kadhal Kadhai (And once again a love story,
1985). Anjali (Name, 1990) revolved around the
family and the social ramifications of having a
mentally retarded child in the house.
Some common themes have evolved in Tamil
cinema depicting mental illness and have remained
steadfast (stood the test of time in the box office) over
the decades and turn of the century. To quote a few:
1. Breaking up of a manwoman relationship leads
to disorganized mental illness (diagnosis never
clear).
2. There is one and only one type of mental illness
and that is paithiyam (madness). Though it
broadly refers to schizophrenia, the picture is
always a dishevelled, dirty male/female with inap-
propriate laughter, stereotypic jumping/running.
3. An injury to the skull causes amnesia and another
injury restores normality.
4. Unconditional love, marriage, inspiring words
and some masochism on the part of the care
giver can cure the most severe mental illness.
5. Mental retardation and mental illness are easily
interchangeable.
228 R. Mangala & R. Thara
6. Childhood trauma always leads to violence/
murderous instincts.
7. Being mentally ill is a state of bliss, peace and
happiness.
8. Mental illness is an easy means of conflict
resolution when a controversial/abstract plot
happens, thereby reinforcing middle-class preju-
dices [Arangetram (Debut on stage, 1973), Sa re
ga ma pa dha nee [Musical notes of carnatic music,
1994)].
9. Magico-religious treatments can help most people
with mental disorders.
Impact
The extent of influence Tamil films and actors have
over the people of Tamil Nadu is clearly evident from
the political scenario in the state. For the last 35
years, only people from the film industry have
become chief ministers in this state. This is because
the screen image of the actor and his larger than life
real image merge and dissolve into one in the minds
of the average film goer. While some people still
dont accept that MGR is dead, N. T. Ramarao
(another actor turned chief minister in Andhra
Pradesh), is strongly believed to be the reincarnation
of the gods Rama and Krishna because of his
successful depictions of these characters on screen.
Carrying this forward to mental health issues, the
association of violence with mental illness has been
causing serious concern in recent times. From
passive existence, being unnoticeable or gaining
sympathy from others (and from viewers) the men-
tally ill person on screen has gradually transformed to
an active, violent killer blind with rage [Aalavandhan
(A name meaning the who comes to regin, 2001),
Kadhal Konden (I fell in love, 2003)].
Mental illness being shown as a point of no return
contributes to denial in accepting a psychiatric
diagnosis. The constant presence of a colourful
precipitating factor on-screen leads to a strong belief
that they are essential for developing mental illness.
Also of interest is the importance given to trivial
head injuries that happened long ago, sometimes
decades earlier by patients and families. Picking up
symptoms from films is another common feature as
in the case of suicide or hysterical states.
The negative image of psychiatrists, hospitals and
treatment modalities delay initiation of treatment
even if the diagnosis is accepted.
Frame of mind
A film festival on mental health
In an attempt to promote mental health awareness to
film makers and viewers alike, Schizophrenia
Research Foundation (SCARF) a non-governmental
organization from Chennai conducts annual three-
day film festivals showcasing some of the best films
made on mental health issues from all over the world.
The third festival concluded recently in Chennai.
A short film competition is held as part of the festival
for aspiring film makers and others to encourage
positive portrayal and destigmatization of mental
illnesses, and positive mental health. The response
from the public and the media has been very
encouraging (www.frameofmind.in).
Conclusion
Tamil film industry has some of the best technical
talents recognized worldwide. Their expertise with
the visual medium can go a long way in promoting
awareness about several mental health issues, in the
society. The psychiatric fraternity should exploit the
strengths of these film makers and assist in bringing
out more good films that are also popular. This will
augur a change in public attitudes and dispel myths
about mental illnesses and the mentally ill, making
way for an inclusive society.
Acknowledgements
We wish to acknowledge and thank Randor Guy,
freelance journalist and Tamil film historian, for his
valuable guidance and inputs for this article. We also
would like to thank Theodore Baskaran, film histo-
rian and author, for sharing his knowledge on Tamil
cinema with us and acknowledge all friends and
colleagues who gave many useful film references to
write this article.
Declaration of interest: The authors report no
conflicts of interest. The authors alone are respon-
sible for the content and writing of the paper.
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