Kishkindha Kaandam Decoded: An indepth study of the ‘Tale of 3 monkeys’; Explaining Unsolved Mysteries & Hidden details..!!

Malayalam Cinema has long been celebrated for its nuanced storytelling and artistic depth, but ‘Kishkinda Kaandam‘ stands out as a masterclass in screenwriting and direction. Even though the movie ends in the perfect way, some questions were left behind. This writeup delves into solving those unanswered questions and doubts in ‘Kishkinda Kaandam‘.

-The Gun in the Monkey’s Hand-

The brilliance of ‘Kishkinda Kaandam‘ lies in its layered storytelling, where even seemingly absurd details serve a larger purpose. In one scene, officers discuss the firearms used by Naxals, distinguishing between rifles and pistols or revolvers, while locals accuse Sumadathan of involvement. This marks the first subtle hint at Sumadathan’s Naxalite past, laying the groundwork for an intricate web of deception that unravels by the movie’s climax. By the end, it is revealed that Appupilla’s prized gun remains safely at home. This revelation raises a compelling question: What gun was seen in the monkeys’ hands, and how does it connect to the shot fired at the forest board?

The film offers just enough clues to piece together the mystery. Appupilla and Sumadathan appear to have orchestrated an elaborate ruse to mislead the authorities. With Sumadathan‘s position as a forest watcher, it is plausible that he facilitated the encounter between the photographers and the gun-toting monkey. This diversion conveniently steers attention away from Appupilla, whose rare and legally imported gun – acquired due to his status as a national shooting champion remains untouchable.

The gun in the monkey’s possession is likely a replica, designed to mimic Appupilla’s weapon closely enough to sow confusion but not implicate him directly. This calculated deception ensures that even if the authorities recover the firearm, they lack definitive evidence to accuse Appupilla. The timing of this ploy during the election adds another layer of intrigue. By creating a spectacle that distracts the public and law enforcement, Appupilla and Sumadathan manage to conceal Chachu‘s death and Appupilla’s deteriorating mental state. The gun in the monkey’s hand becomes a symbol of their cunning, turning a seemingly ludicrous scenario into a key piece of their master plan.

In ‘Kishkinda Kaandam‘, every element, no matter how outlandish, serves to reinforce the film’s underlying themes of power, manipulation, and the lengths to which individuals will go to protect their secrets.

-Chachu and the Gun-

Through Sumadathan, we, alongside Ajayan and Aparna, gradually uncover the events leading up to Chachu’s disappearance. The story reveals a chilling sequence: Chachu uses Appupilla‘s gun to shoot a monkey, an act they conceal to avoid it being treated as a murder case. In the chaos, the gun is left carelessly behind – a subtle yet telling detail. Chachu retrieves the gun again, leading to a tragic altercation with his mother, Praveena, which results in his untimely death. Appupilla’s failing memory is hinted at as a possible factor in this tragedy.

The film intriguingly hints at Chachu‘s ability to handle the gun with expertise. During the altercation, he demonstrates precise knowledge of gun mechanics, such as adjusting the suspension and pulling the trigger. But where does a child acquire such skill? A flashback on the train reveals Ajayan telling Aparna about Chachu’s obsession with ‘a shooting video game’: a fixation that perhaps sowed the seeds of his fascination with firearms. Yet, gaming alone cannot explain his real-world proficiency.

It is here that Sumadathan’s involvement becomes evident. Old videos show Chachu and Sumadathan as close companions, strengthening the theory that the latter indulged Chachu’s curiosity and taught him how to use a gun. The connection is further implied when the police note Chachu’s history of disappearing from school, recounting how his stories about his whereabouts often conflicted with reality. It is plausible that Chachu sought out Sumadathan during these absences, honing his shooting skills under his guidance.

Chachu‘s hatred for monkeys, revealed by Ajayan, adds a layer of motivation. The flashback of monkeys stealing Chachu’s toys and the symbolic scene of these toys falling from a tree encapsulate his desire for vengeance. This childhood trauma may have driven him to act out his fantasies in real life, culminating in the fatal incident.

-Where is Chachu? The Final Mystery-

The question of Chachu’s whereabouts ties closely to Sumadathan’s role. Appupilla, due to his age and mental state, would not have been capable of concealing the body or erasing evidence alone. Sumadathan’s assistance is strongly implied. While the field where Appupilla burns evidence might seem like the answer, Aparna’s quick discovery of this spot suggests otherwise. Sumadathan is likely the only one who knows the true location of Chachu’s body, a secret he guards to avoid incriminating himself.

Appupilla’s enigmatic statement: “Let it burn as the truth no one wants” – serves as a chilling reminder of their collective silence. The film masterfully leaves this question unresolved, allowing the audience to grapple with the weight of suppressed truths.

-Ramayana and Cinema-

Although ‘Kishkinda Kaandam‘ borrows its title from the fourth chapter of the Ramayana, its connections to the epic are subtle and atmospheric rather than direct. The dense forests, monkey symbolism, and themes of exile and betrayal evoke the essence of Kishkindha. Ajayan’s remark to Aparna: “The entire monkey army is here, except for Hanuman and Sugriva” – is the film’s only direct nod to the Ramayana.

Intriguingly, the film parallels the Ramayana’s karmic cycle, where Rama‘s slaying of Bali is mirrored by Krishna’s death at the hands of Jara in a later life. In the movie, the karmic consequence is less about reincarnation and more about generational trauma, with Chachu’s death becoming the tragic center of a morally complex web.

-The Three Monkeys Proverb-

The tagline, ‘A Tale of Three Wise Monkeys’, ties the film to the Japanese proverb: “See no evil, hear no evil, speak no evil.” Each main character embodies one of these monkeys, illustrating their unique way of coping with the truth.

Ajayan (Asif Ali) is Mizaru, the monkey who sees no evil. He chooses to live in denial, avoiding the harsh realities of his son’s death and his father’s mental decline. Only when the situation spirals out of control does he open his eyes and confide in Aparna.

Appupilla (Vijayaraghavan) is Iwazaru, the monkey who speaks no evil. He silently endures the cycle of events, piecing together truths during each loop but refusing to share all that he knows. His silence shields him from accountability while leaving others in the dark.

Aparna is Kikazaru, the monkey who hears no evil. Despite learning the truth from Ajayan, she chooses to live as though she hasn’t heard it, ultimately joining him on a journey to Nagpur.

Together, these characters reflect the essence of the proverb, living in collective denial of a tragedy that continues to haunt them.

-Final Thoughts-

‘Kishkinda Kaandam‘ transcends its mythological roots to deliver a haunting narrative steeped in psychological complexity and moral ambiguity. By weaving elements of the Ramayana into a modern tale of family, loss, and deception, the film challenges viewers to question the nature of truth and the lengths we go to conceal it. Like the three wise monkeys, the characters may choose to see, hear, and speak no evil, but their shared silence only deepens the shadows that surround them.

As someone who watched this film twice in Theatres, hoping to see more like this in future of Malayalam Cinema.