Metonymicism In Ponthan Mada

In the film, Ponthan Mada, TV Chandran used metonymy to visualize the shared experience of alienation between characters along with the associated class differences existing among them. The scene, where Mada is stuck in front of car, and the follow up shot from the inside of a fast moving car metonymically signifies as someone anachronous to the present century and of a lower status. The repeated scene, where Mada communicates with Sheema Thampuran by climbing on the palm tree metonymically signifies their shared alienation, and the class consciousness existing with Mada. The song sequence metonymically signifies the political movements of that period without showing any political images. The scene where the character Resmi moving backward …show more content…
First he perceives her as someone who is spoiling life of the men associated with her and later understands her compassionate nature and adds divinity to her life. The surrealist scene where protagonist Susanna whipped and pelted with stones metonymically signifies her life with the life of Mary Magdalene. The painting of liberated women in the drawing room of Susanna metonymically signifies her aspirations for liberation from social subjugation. The scene, where Susanna is shown lying on the lap of her lovers and proclaiming as their mistress metonymically signifies her life as a wife to take care of their emotional needs. The surrealist scene, where Susanna is shown on top, and her lovers at the bottom crying for her love metonymically signifies the power dominance she acquires in the latter part of the …show more content…
The scene where Velayudhan cries when Mangamma gets married metonymically signifies Velayudhan’s deprived motherly affection. The scene where Mangamma single handedly burying the body of Nair metonymically signifies her inherent strength to face harsh realities. The scenes of burnt homes and burnt faces metonymically signify the plight of lower working class during feudal atrocities. The scene where Velayudhan accidentally burns a newspaper and the one in which he intentionally burns a newspaper in the latter stage of the film metonymically signifies the metamorphosis of a passive subject of humiliation and alienation to a reactionary comrade. And the climax scene where Mangamma, Balan, and Velayudhan managing the renovated tea shop with electricity connection metonymically signifies survival mechanism in women and spark of protest against feudal and political