Subaltern
Voices: The Triumph of Ecofeminism and the Other in the Film Eko
Anusha U
Assistant Professor
Department of English
Lourdes Matha College of Arts and
Science
Kuttichal, Kattakada
Trivandrum, Kerala, India
Abstract: This study analyses the powerful voice of
subaltern femininity, aided with the flora and fauna of the landscape, as
depicted in the contemporary Malayalam film Eko directed by Dinjith Ayyathan. The film opens large canvasses
for subaltern discourses revealing the environmental digressions and the power
delusions of patriarchal society. It
analyses how the colonial patriarchy uses society, family and nature to control
the feminine aspects. The chains of patriarchy suffocate the femininity that in
turn uses the very loopholes to hurt and bleed the power structure. Nature
seems as an elegant elite structure through which the modes of slavery and
rivalry get executed. Rather than being a silent observer, the nature pools its
way into the story line vibrating life and blood into existence. The post
colonial power hegemonic structures are shattered and questioned with the
ecofeminist diversions. This study focuses on those structures developed in the
film, their execution and the emergence of feminist voices shattering the very
base of this existence. Hence a twofold
level analysis is done with taking into account the story line, its’
perception and the level of execution. It helps to verify the structure of
dominance and resistance within the human and natural world. Eko stands as a marvellous attempt in
guiding new verges of existence and interrelations. The film is modern example
of portrayal of subaltern femininity in new avatars.
Keywords: Ecofeminism, environment, hegemony, other, patriarchy,
subaltern, power.
Introduction
Cinema acts as a powerful system in reviving and
rediscovering cultural elements. The components of cinema can come together to
nurture the understandings of cultural shifts with depth and resonance.
Malayalam cinema in the modern world has emerged as champions of new
interpretations of various systems of narratives that taught audience modern
theories. Dinjith Ayatthan directorial Eko is one such attempt in a new
narrative background. The film roles itself in a silent way surrounding the
mysteries of the so called protagonist Kuriachan. The thriller film explores
the ways in which the female protagonist or perhaps the antagonist Mlatthi
chettathi asserts her authority over the injustice offered to her by the male
characters.
This study analyses the film through subaltern and
ecofeminist lenses. The layers of these theoretical frameworks in the film are
taken into consideration. The varied focus on interconnections between
femininity and nature and how the patriarchy used the natural elements to slave
up the female aspects are discussed in this study. The film uses various means
of convincing these authoritative structures by portraying natural landscape
and manmade environment conveniently.
This film is a triumph of feminist survival with the
powerful focus on the hero turned villain role played by Biana Momin. The soft
spoken woman protagonist entices the audience with her powerful vengeance. The
so called silent femininity trails into a revengeful avatar with the audience
being sided into her role. The narrative shifts into this slow powerful female
agency asserting control over the male dominance in the end of film. Rather
than being a silent background, nature here acts as a thematic existence,
providing glimpses into characters.
Subaltern theory is a post colonial and critical theory
focusing on the histories, cultures and agency of marginalized populations who
are excluded from dominant power structures. Antonio Gramsci coined this term
to represent the social groups oppressed under the ruling elite. It referred to
anyone lacking political representation .The theorists of subaltern studies
rather expanded this term .Gayatri Spivak Chakravarthy explains subaltern as
the absolute “other”-those who are completely removed from the networks of
social mobility and imperial power (280-281). Gayatri argued that genuine
subaltern voices are unheard and silenced by the dominant society.( 283)
Ecofeminism on the other hand states that the systemic
oppression of womanhood and the degradation of environment are deeply
intertwined. The male dominated society finds its way to slave up women and
nature to showcase their talent and hierarchy. The oppression is simply their
means of assertion of dominance. Shiva argues that the struggle for women’s
liberation and the struggle for the preservation of environment are inseparably
linked. (27) This study focuses on the influence of these two aspects on the film
Eko.
Feministic revenge
The poetic justice in Eko is served by the fact that in
the end Mlatthi Chettathi asserts her power and control and seeks vengeance on
her husband Kuriachan for the grave injustice committed by him. The film starts
off as a thriller with cops and criminals search for the mysterious dog breeder
Kuriachan, who is believed to be hiding in the hills,\.But it is revealed later
that Kuriachan is, in fact ,trapped by Mlatthi Chettathi, using his own dogs. In
the words of Bahul Ramesh, the script writer, this film is not the female
centric tales that are offered, but grows to become a quiet reclamation of
space by a hurt, yet strong willed woman.
A tale of master slave relationship is been explored in
the film. By developing the narrative technique from Mlatthi Chettathi’s side
and showing her character development through various stages, her actions got
substantiated in the end. The revengeful silence is noted that there is a
feminine touch in it. More than bloodshed and violence, the silent portrayal of
her vengeance has won accolades. The slavery treatment demonstrated on her
husband shook the very foundations of patriarchal pride and arrogance. The very
elements of her bondage worked out as chains of slavery and limitations upon
her husband.
The manner in which Mlatthi Chettathi carried forward the
revenge is a matter of study for feminist approach. As a female, limited by
emotions and freedom, she poured out every inch of that sacrifice into powerful
motto of repayment. The femininity in her soul and body gets satisfaction with
this .The system that shattered her very urge and existence became a force to
bind together the lost self. She cleverly uses the isolated forest, caves and
dogs to delimit the very tinge of patriarchal suppression. The structures that
chained her suffocates the oppressor. The beauty of poetic justice is revealed
in the climax where, Peeyoos, the left hand of Kuriachan understood that he too
is in the mercy of Mlatthi Chettathi as she is in the control now. The story
gets into a chilling climax as Kuriachan is trapped in his hideout, guarded by
his once loyal dogs, who are now instructed by Mlatthi Chettathi. The very
theme of protection and restriction, now surrendered into the hands of a female
protagonist, touches a new realm of feminist questions here. The male
characters are left into dismay by a single female portrayal. The sweetness in
the vengeance adds brilliance to the female portrayal.
Nature as a feminist resistance
The story unfolds in a sleepy, misty hilltop in the
Western Ghats of Kerala-Karnataka border. Mlatthi Chettathi has spent her life
in a remote estate home of Kuriachan in this windy hilltop. The estate is surrounded
with numerous mysterious hilltops which prohibits human settlements. The chill
winds and howls give a sense of mystery to the whole film. The only sound
arises is the barking of canines looked after by Chettathi. Their howls and
barks echo around the whole hills, resonating a sense of wilderness and
petrification. The doomed silence of the area is a perfect paradigm to portray
Chettathi’s inner turmoil. She lives there alone, only in connection with the
help of Peeyos. Her only communication to the outside world is Peeyos. Rather
she spends her time with the canines. She seems to be in complete unison with
their thoughts and emotions.
The canines are bit more rebellious and offensive to
strangers. Peeyos on his first arrival has felt that. He is saved from them by
Mlathi Chettathi. Even though he lives there, he is not in good relation with
them. He thinks that he has understood them. But the fact is revealed in the
climax that their absolute master is Mlatthi Chettathi. Even his survival seems
to be in her hands.
The rough canines, strenuous hill roads, hilltops with
deafening silence, vigorous vehicle travels-all added to the perplexity of this
storyline. All are directly connected to Mlatthi Chettathi also. The canines
and hilltops are her solaces, revealing her indignation and oppression. Her
life in Malaysia is also pictured as isolated, strictly under the control of
her aged husband. She survives in a thatched hut, on the banks of an
overflowing river, away from human interactions and surrounded by fierce canines.
She stands aloof as a constraint figure, under the palms of patriarchy,
controlling her existence as a gadget.
The bereaved ecosystem in her home in the estate turns
out to be her pathway to vengeance, using the same oppressed system as her
supporting factor. The climax shows us who the real master in the story is. The
landscape which is once her goal is now her kingdom where she decides who to
live and to die. Peeyos, Kuriachan, Mohan Poothan and Navykaran understood this
in course of the story
The harsh and rough terrain inexplicably showcases the
female protagonist and her mind. The creepy sub terrains hint at her mind process.
Each and every man tries to control and suppress the landscape, but all of them
failed miserably. Some even lost their lives. None is able to execute their
plans upon the canines and the hills. They submit themselves to the will of the
devastated Mlatthi Chettathi. She reigns herself in the hell as its soul queen.
The restricted other
Mlathi Chettathi is the marginalized, othered figure. Originally
a Malay woman, she is taken by Kuriachan after her husband’s death. Hence she
is doomed to spend her life in the remote Kattukunnu hilltop in Idukki. She is
taken as his wife as there is no one left for her in Malaysia, as stated in the
film. Her marriage with Kuriarchan is due to the fake circumstances created by
him and Pothan. She falls a victim to his crooked plan and becomes a substance
for patriarchal control. Her decisions or demands are not met within by any of
the male characters. She falls prey to their tools, suppressing her pains and indignation.
She lives as a silent victim to violence and foul play. She cannot vent out her
feelings or sufferings to anyone. She survives alone in that isolated estate on
the lonely hilltop. She is portrayed as calm and silent introvert, perhaps her
life has shaped her into this subjugation. She appears as a subaltern wife who
suffers isolation and objectification.
Peeyos, the domestic help of Mlatthi Chettathi, is one
among the othered figure. He represents the subaltern helper figure, who is
intimately connected to the land and canines. His perspective challenges the
norms of established hierarchy and he acts as a pivotal role in unfolding the
mysteries of the story line.His work in the story allows him to challenge the
power dynamics in that remote Kattukunnu estate. A youth with a sober past, he
believes none. His judgemental sense triumphs him in many situations, let alone
he gets defeated in the mystery of Mlathi Chettathi.
The remote Kattukunnu estate acts as a luminal space
outside mainstream society where the subaltern oppressors define and relocate
their rules and subjects. The hilltop acts as a sheltered place for the masters
to live away from modern civilization. Kuriachan reigns in his estate as the
supreme commander, questioning law and society. He and his followers groove the
Kattukkunu estate to their favors, establishing their illegal business. The
canines and the forest reserve act as a perfect background for their oppression.
His mastery of the space in that terrain gain him supremacy over many, hence
letting others swim in darkness over his existence. He believed that no one can
beat him in that terrain. He dictates the rules and regularities for his slaves,
controlling the ecosystem to his advance. This estate stands as the othered
limited space for his patriarchal hegemony to rule over. The difficulties and
distances in the terrain make it inaccessible for outsiders. Nevertheless his
enemies find it really confusing in establishing a communication with this
terrain.
The fierce canines form the main part of this story line.
They are aggressive, at the same time protective and controlling. Their loyalty
to their master is unbelievable. No one could cross them or tend them, unless
it is their master. Their undeniable loyalty is a subaltern narrative that
drives this story. At first canines are controlled by Kuriachan. But in the
climax we get a glimpse that it is Mlathi Chettathi who is the supreme
commander. Pothan’s death by the dog substantiates her power and control over them.
She manipulates them for her own safety and security, unlike Kuriachan. Rather
than being a background character, these canines form the part of narrative
which focuses to solve the mystery. The growling and barking voices of them is
a warning to any oppressive power. They tend to set loose their authority over
their prey. They are at their master’s command to kick or kill anyone that
disrupts the normal course.
Protection as restriction
The film highlights how patriarchal hegemonic in guise of
protection restricts and silences the women victims. Kuriachan uses his canines
to slave up Mlathi Chettathi. Her whole survival exists in the chains of the canines.
She is under their surveillance for whole day. Her movements get restricted by them.
They guard her for her life. Also they are trained to attack her if she crosses
her restrictions. This shows that her survival is in the mercy of these
canines. Kuriachan believes them more than her. In the naive of protection,
they are controlling her very existence. The silent supremacy of the
authoritative oppressor is shown through their portrayal. His absence is filled
by these animals.
The lonely Kattukunnu hilltop and restricted estate are
both places of oppression. They are the way for maintaining control and
supremacy over the victims. Mlathi Chettathi is a slave in the estate, one who
moves and lives according to the dictates of Kuriachan. She is limited by all
his ways and rules. Her survival itself is enabled in the dictum of the master.
The untamed landscape traps her into a battle for survival.
Conclusion
Eko is a brilliant attempt in subaltern voices and
ecofeminism. Through the lenses of these narrative structures, the film offers
a magnificent canvass that can direct viewers to visualize more than that is
shown in the film. The undercurrents of subaltern voices explored can give us a
picture of how modern cinema is fearlessly initiating discourses that can
change the whole perspective of existence. The film shoulders out new
narratives that can change the outlook in coming ages. The tool of cinema must
be a path breaking genre evolving out of such new definitions.
Works Cited
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Ott Play, 06 Jan 2026, www-ottplay-com.cdn.ampproject.org, accessed on 27 July,
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Eko, Directed by Ayyathan Dinjith,
Performance by Sandeep Pradeep, Biana Momin,Vineeth, Narain, Asokan. Aaradya
Studios, 2025.
Guha, Ranajit, editor.Subaltern
studies I: Writings on South Asian History and Society.Oxford University
Press, 1982.
Megha,K V.”The
Interconnectedness of Gender and Nature in Eko”, IJSR, Vol: 15, Issue 4,
April 2026.PP1348-1349.https://dx.doi.org/10.21275/SR26416221339.
Mies, Maria and Vandana
Shiva. Ecofeminism. Zed Books,1993.
Spivak, Gayatri
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by Cary Nelson and Lawrence Grossberg,University of Illinois Press,1988.