Gopalan Muthalaly, a leader of Quit India movement, but now a corrupt contractor. The film garnered wide critical praise and several awards, including five Kerala State Film Awards upon release. Aravindan's second film Kanchana Sita (1972) was an adaptation of C. N. Sreekantan Nair's play of the same name, which is a reworking of Valmiki's Ramayana. The film is credited with formation of a new stream called independent filmmaking in Malayalam. It interprets a story from the Uttara Kanda of the epic poem, where Rama sends his wife, Sita, to the jungle to satisfy his subjects. Director Aravindan interweaves the Samkhya-Yoga philosophical concepts of Prakriti-Purusha bonds throughout the film. The film, told in a feminist perspective, significantly differs from all other adaptations of Ramayana in the characterisation of the central characters, including Rama and Lakshmana. The characters are humanised, contrary to the way divine characters from Indian mythology are usually depicted in visual media. The film was shot in the interior tribal areas of Andhra Pradesh and the roles of the epic heroes are played by Rama Chenchu tribal people (or Koyas), who claim lineage to the mythological Rama. Upper-class Hindu groups accused of Aravindan of blasphemy for casting tribals in the role of Hindu epic heroes but Aravindan never heeded saying that the Rama Chenchus have classical features and are marvellous actors. While Kanchana Sita dealt with mythology, Aravindan's next film Thampu (1978) dealt with realism and told the story of suffering in a circus troupe. It was shot in black and white in a direct documentary mode. Aravindan won the award for Best Director at both National Film Awards and Kerala State Film Awards. His 1979 films Kummatty and Esthappan also ran through different streams. Kummatty is a Pied Piper-like figment of Malabar's folklore about a partly mythic and partly real magician called Kummatty (bogeyman) while Esthappan blends together the Biblical story of the deeds of Christ and the way society responded to him, with the life of Esthappan, whose life mystified others. Indefinability of the human mind was the theme of his next film Pokkuveyil (1981). The music for this film was composed by flautist Hariprasad Chaurasia. The legend is that visuals of this film were composed according to musical notations, without any script. The protagonist of the film is a young artist who lives with his father, a radical friend, a sportsman and a music-loving young