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In the southern fringes of India, where the Arabian Sea laps against coconut palms and the monsoon rains script poetry onto every leaf, a cinematic miracle has been unfolding for nearly a century. Malayalam cinema, often overshadowed by the bombast of Bollywood or the spectacle of Tamil and Telugu industries, has quietly earned an audacious title: the most culturally authentic film industry in India. Not because it has the biggest budgets or the widest releases, but because its films smell of wet earth, speak in the rhythms of everyday speech, and dare to ask uncomfortable questions about the very society that produces them.

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Alongside these great lyricists and composers, the equally powerful presence of lyricists like Sreekumaran Thampi, Yusuf Ali Kechery and Bichu Thirumala emerged. Composers M.K. Arjunan, A.T. Ummer, Chidambaranath and later Johnson and Raveendran made Malayalam film songs varied and rich. The popularity of the songs lured the audience to watch the films, and good songs commanded a place of primacy in films until the early years of this century. , this is a concerning query