The erratic nature of goodness: a reading of the parasitic nature of toxic masculinity through the character of Achuthan Nair in the select film duology

The practice of masculinity can often masquerade as “goodness” in society. However, the underlying parasitic nature of this ideological practice can extend its sway over society, destroying the environment and the host it inhabits. This article examines the nature of masculinity, which preys on both the environment and its host in the Malayalam films Kireedam (1989) and Chenkol (1993), written by AK Lohithadas, directed by Siby Malayil. This perspective is drawn through the character arc of Achuthan Nair, played by Thilakan; his transition from a proud man to a loathsome end reflects the nature of toxic masculinity. This article on Connell’s hegemonic masculinity and Gramscian ideas of hegemony, coupled with an outspoken feminist performance by the female characters, critiques masculine ideals. This thereby repositions the tragic hero status from Sethumadhavan to Achuthan Nair. He acts as the fulcrum of the entire events of the films; “goodness” practiced by him has a performative quality approved by society. The statements, interactions, and discourses of Achuthan Nair act as the catalyst and medium of this destructive turn. The traditional gender roles and performances are also visited to identify the liminal nature of the host’s identity, which remains in flux, leaving him in an ideological limbo. The article tries to analyze the interactions of Achuthan Nair with other characters and situations to bring in this perspective of the parasitic nature of masculinity, with an emphasis on Achuthan Nair’s interactions with different forms of masculinities in the film, to represent the underplayed notion of hegemonic masculinity and its parasitic nature in a cult film duology. The transition of Achuthan Nair from a hegemonic practitioner to a victim of the same practice is also traced in the article.