Last Updated on November 29, 2023 by themigrationnews
For a long time, Malayalam filmmakers have excelled in depicting the intricate connection between Kerala and the Gulf region, specifically delving into the migration processes, their socio-economic consequences, and the migrant experiences. One such cinematic exploration is ‘Kadina Kadoramee Andakadaham’ (hereafter referred to as KKA), a Malayalam-language film released in 2023, directed by debutant Muhashin and written by Harshad. In the movie, Basil Joseph portrays Bashiruddin (aka Bachu), with notable performances from Indrans as Hasaan, Jaffar Idukki as Ismail, Sudheesh as Rajesh, Sreeja Ravi as Umma, and Binu Pappu as Rashid (Bachu’s brother-in-law), creating a diverse and talented ensemble cast that adds depth and authenticity to the film. Set against the backdrop of the COVID-19 pandemic, KKA explores various themes related to Gulf migration from Kerala, especially the social and emotional costs of migration due to family separation and also offers fresh insights into ideas that had previously been largely unexplored.
Absent Father, Burdened Son
The story revolves around the life of Bachu aka Basheeruddin (played by Basil Joseph), the son of an emigrant named Kamaruddin. Kamaruddin represents the typical pravasi from Kerala, who, at a certain point in his life, had to embark on a journey overseas in pursuit of “new money”. He has been away from his homeland for nearly two decades, barely returning and enduring physical ailments and emotional sufferings. While he lives abroad to ensure his family’s well-being, he does not have the opportunity to be physically with them. Each year, he must extend his time as a migrant worker for yet another year, as his family relies heavily on the remittances he sends to sustain their livelihood. Moreover, he has to take care of the domestic matters by maintaining constant communication with his family members through phone calls. Given all these factors, Kamaruddin’s life resonates with that of many migrant workers from Kerala who share similar life experiences. The director’s decision to present this character only through his voice during the phone calls and never showing his face leaves the possibility of him symbolizing the struggles of countless similar desperate individuals. The character also challenges the erroneous notions surrounding the Muslim migrants from Malabar which falsely assume their wealth and prosperity while overlooking the hardships of expatriate life.
The plights of the father are further intensified by the son’s obstinacy in not choosing the migrant way of life, which in turn compels the father to stay away for an extended period. It is a common practice in migratory patterns, where one’s migrant status is often succeeded by another (chain migration), or where the networks of migrants help generate opportunities for potential migrants. Bachu argues that he will not pursue a livelihood in the Gulf, convinced that such a path would make him a ‘failed expat’ like his father. In his perspective, his father has not accomplished anything remarkable through his extensive years as a migrant. He, thus, strives to achieve success on his own and persistently engages in various entrepreneurial ventures, despite facing setbacks. He wants to prove to his family that he can survive in his hometown through his businesses, without the Gulf having to be a necessary option for him. His struggles to evade the constant pressure from family and friends to seek better opportunities in the Gulf highlights two social realities. On one hand, it underscores how profoundly the Gulf is perceived as a last-resort or a portal to prosperity by certain communities in Kerala; on the other, it shows the growing reluctance of some of the new generation within these communities toward emigration. Bachu’s experiences also bring to the forefront various other social realities that are common in the lives of the children of emigrants. Migration involves several social costs, with one of the most significant being family separation. When individuals migrate for work or other reasons, they may have to leave their families behind, leading to emotional and psychological strains on family members. Bachu, despite being perceived by others as wealthy and privileged owing to his father’s status as a “Gulfukaran” (gulf migrant), suffered the absence of paternal care, especially when he needed it the most. He also has to shoulder heavy domestic responsibilities and handle issues that are typically managed by elders, forcing him to mature at a young age.
Longing and Loneliness of Gulf Wives
Another captivating character in KKA is Nabeesu (performed by Sreeja Ravi), Bachu’s mother, who vividly portrays the experiences and challenges endured by “Gulf wives.” The term Gulf wives is used to refer to married women in Kerala households whose husbands work or reside in Gulf nations. They are left behind while their husbands migrate, burdened with the responsibilities of domestic chores. Although some studies argue that male migration gives women more agency in familial affairs and empowers them, most of the practical accounts suggest that women experience social and psychological vulnerabilities. Nabeesu shoulders the burden of household crises such as her daughter’s marital separation and her son’s entrepreneurial setbacks. She often acts as a bridge between the father and the son, convincing the latter to speak with the father and also request him to deal with the familial problems as his father suggests. Additionally, she must attend to the health of her ailing husband, providing solace through their regular phone calls and asking him to take care. There are scenes that clearly portray Nabeesu’s love, care, concern, anxiety, and worry for her husband, drawing the audience’s attention to the diverse emotional situations that Gulf wives occasionally undergo.
Loneliness is a recurring theme in the depictions of the lives of gulf wives, who yearn for the physical presence of their beloved. They face extreme solitude, particularly when they move to their husband’s house after marriage or relocate to a new home. For years, they hopefully await the return of their partners. In KKA, Nabeesu has been waiting for her husband for two decades and the news of his impending arrival fills her with immense joy. But, unfortunately, her ailing husband succumbed to death just before the day of his scheduled flight. This turn of events sharply highlights the immobility imposed by the COVID-19 pandemic, taking the audience back to the hardships they endured during the trying times. Scenes mentioning quarantine for immigrants, Vande Bharat flights, lockdown, and reports of dead bodies being piled up in airports in Gulf nations etc. evoke powerful emotions, revealing how the pandemic disrupted the movements of NRIs and the common people.
The Lines of Love and Longing
Bachu’s efforts to repatriate his father’s body to their village serve as a reminder of the complexities of immigration policies and regulations. These scenes also indicate the hardships faced by Gulf wives and their sons. The pain experienced by Nabeesu is poignantly conveyed through the song “Premakkathu Pattu”. The melancholic lyrics by Muhsin Parari are soulfully sung by F. Jahan, inspiring the right emotions on the screen. The style of the song and its title refer to the “Kathupattu”, a prominent genre of Mappilappattu songs which takes the form of a wife’s letter to her expat husband in the form of a song, expressing her love, longing, solitude, sorrows, and more. The narratives’s melancholic tone finds its culmination when the COVID-19 protocols prevent the family, particularly the mother from viewing the body of their loved one for a last time. Kadina Kadoramee Andakadaham is truly a film that portrays the struggles of ordinary people during the pandemic, offering a critical perspective on government attitude during this period. The movie illustrates how the everyday challenges faced by financially disadvantaged families are magnified in the context of the pandemic. More significantly, it serves as a compelling depiction of the experiences and difficulties encountered by a Gulf expatriate’s family, making it a unique addition to this genre of films.
Anshif E is an aspiring researcher and writer specializing in the field of Migration, Diaspora activism, transnational literature. He is a Post Graduate Diploma candidate in Migration and Diaspora at Indira Gandhi National Open University. He has experience interning and volunteering for organizations supporting migrant communities in India. He is currently working as a field investigator for Gulati Institute of Finance and Taxation (GIFT) and a research fellow at Centre for Migration and Gender Justice (CMGJ). Anshif has presented academic papers on diverse topics like internal and international migration, politics, gender studies, and economics at national and international conferences. He reads contemporary and post-colonial fictions about migration, refugee crisis, colonialism and power in general.