The 2025 Malayalam film Lokah: Chapter One – Chandra aims to reinterpret Kerala’s renowned female spirit, Kalliyankattu Neeli, through a contemporary feminist perspective. Marketed as India’s first female-centered superhero film, Lokah has garnered both commercial success and critical attention for challenging traditional depictions of the yakshi, a vengeful enchantress in Kerala folklore, and for developing a new cinematic universe that merges local mythology with modern genres. In this adaptation, Neeli, now referred to as Chandra, transitions from a figure in folklore to a present-day guardian in Bengaluru, reshaped from a demonic temptress into a vigilant protector. This portrayal has been recognized as a feminist intervention in a genre historically dominated by male protagonists; however, an analysis through the lenses of caste and gender unveils certain limitations within Lokah’s narrative, particularly its dilution of Neeli’s caste critique and continued reliance on male savior figures.
Kalliyankattu Neeli’s origins are deeply rooted in the patriarchal and caste hierarchies of Kerala folklore. In the early 20th-century text Aithihyamala, Neeli appears as Alli, the daughter of a devadasi—a hereditary temple dancer and courtesan—who is forbidden from marrying upper-caste men. Her life is altered when a Brahmin priest, Nampi, deceives and ultimately murders her. Following this betrayal, she is resurrected as a yakshi, symbolizing a response to caste and gender oppression. Scholars note that these folktales serve primarily as cautionary fables reinforcing brahminical patriarchal boundaries rather than celebrating female agency. The yakshi’s attributes reflect societal warnings: a woman defying norms, whether through beauty or ambition, is branded as a dangerous entity. As such, Neeli’s story illustrates a dual critique—exposing the violence of caste patriarchy while ultimately reinforcing the social order by depicting the avenging woman as a supernatural threat.
In the late 20th century, Malayalam cinema continued to portray Neeli within this patriarchal framework, often depicting her as a femme fatale—both alluring and terrifying. Films like the 1979 Kalliyankattu Neeli and 1985’s Kadamattathachan render Neeli as a seductive ghost, with filmmakers emphasizing her sexuality while framing her as a punisher of male transgression. The camera’s objectifying gaze further entrenched her role as an object of male desire and dread, often reinstating male power through savior figures. A central character, Kadamattathu Kathanar, an exorcist, becomes pivotal in popular retellings, demonstrating how upper-caste male authority must reinstate control over unruly female power.
Lokah intervenes in this tradition by reimagining Neeli as a modern superheroine. Chandra, distinct from the ethereal figure cloaked in white, is depicted as a contemporary young woman clad in modern attire, entirely eschewing the seductive tropes characteristic of past interpretations. Her anger transforms into a righteous fury directed at wrongdoers, devoid of any sexualized undertones.
Despite this shift, Lokah retains elements of male gaze. Chandra is often observed through the lens of voyeuristic male characters, echoing past cinematic tropes of male voyeurism. Director Dominic Arun has acknowledged that scenes of male neighbors spying on Chandra draw inspiration from Priyadarshan’s 1989 film Vandanam, which also depicts male characters peeping at women. While Chandra does not embody the role of a willing seductress, this voyeuristic framing indicates that the influence of male-centric perspectives persists in Lokah.
Nevertheless, the film generates an inversion of traditional gender roles, as seen when Chandra rescues a male character, Sunny, who is presented as fearful and awestruck by her abilities. This reversal has led to critical acclaim for the film’s nuanced feminist messaging.
Lokah also reconsiders Neeli’s origin story, with a more contemporary lens, yet this shift complicates the film’s approach to caste. While acknowledging Neeli’s folkloric backdrop, the script alters key influencers. Chandra is presented as a tribal girl from over a millennium ago, marginalized and barred from spaces occupied by the king. Here, her defiance against caste segregation—venturing into a temple forbidden to her community—triggers the king’s violent retribution, leading to the massacre of her village.
This violent episode catalyzes Neeli’s transformation, linking her power to the enforced caste hierarchies. However, Lokah shifts the narrative, broadening the perceived oppression from a specific caste structure to a more generic feudal hierarchy. The film thus presents a universal struggle of the oppressed versus the powerful, which may dilute the original caste critique. While Neeli’s oppression is rooted in caste-based trauma, the film refrains from naming such injustices in its contemporary setting, focusing instead on individual villains without addressing systemic caste issues.
This omission, particularly given Neeli’s backstory, marks a missed opportunity; an avenger born from caste violence could logically address contemporary caste oppression. Instead, Lokah directs her narrative towards a generalized battle against evil, resulting in a form of caste-blind feminism. The film celebrates a fierce female lead yet fails to interrogate the intersection of caste and gender in the current societal landscape.
In addition, Lokah recontextualizes Kadamattathu Kathanar as a mentor rather than an adversary, hinting at a collaboration devoid of the traditional male savior trope. Although Kathanar’s relationship with Chandra is framed positively, presenting him as a friend rather than a conqueror, the dynamics remain complex. Kathanar acts as a pivotal figure in legitimizing Chandra’s power, making it dependent on male approval. This subtly reinforces patriarchal structures, as Chandra’s journey unfolds within the framework established by a powerful male authority.
Overall, Lokah represents an intriguing attempt to reclaim a historically feared female identity and present her as a heroic figure. While the film’s inversion of traditional gender tropes and emphasis on female agency marks progress, its limitations concerning caste engagement and the presence of a male guiding figure hinder its potential for radical feminist messaging. The film achieves a commendable beginning in creating space for a female superhero, but the envisioned Chandra, one free from patriarchal constraints and caste blind spots, would signify a more authentic celebration of the resilience of women wronged by their societal narratives.
Tags: Yakshi, gender studies, caste dynamics, Lokah, cultural analysis
Hashtags: #Recasting #Yakshi #Gender #caste #limits #Lokah
