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There is a term often used to describe the Malayali experience: Oombal —a drift, a lack of urgency, a sort of laid-back chaos. It is this energy that permeates the best of the culture. It allows for a film like Thuramukham (The Harbour) to tackle the history of labour unions with the gravity of a documentary, while simultaneously allowing for the slapstick chaos of a Romancham .

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Unlike the studio-system cinema of Mumbai or the star-driven mythologies of Chennai, Malayalam cinema was born from a deep literary tradition. The early talkies, such as Balan (1938), drew heavily from the social reform movements and plays of the time. But the real cultural explosion occurred in the post-independence era, specifically the 1950s and 60s. There is a term often used to describe