The forgotten Indian actor who lost her inheritance due to class persecution

At a time when the woman’s participation in the cinema industry was a frown, a young woman dared to dream differently.

In the twenties of the twentieth century, PK Rosy became the first female leadership in a cinema in Malaylami, in what is now known as the southern state in Kerala state.

She starred in a movie called Vigathakumaran, or The Lost Child, in the twenties of the twentieth century. But instead of being remembered as a pioneer, her story was buried – erasing it by distinguishing between class and social responses.

Rosie belonged to the lower layer community and faced severe criticism of the photography of a top -class woman in Vagthakaran.

After nearly a hundred years, there is no evidence for a Russian role. The movie ball was destroyed and the crew and crew died.

Only a few pictures of the film from a A disputed press release On October 1930, survive, along with a black and white image other than verifying its people by local newspapers as the only Rosy image.

Even a Google Doodle celebrates her 120 birthday Use a similar explanation for women in the picture. But the nephew of Rosie and others who searched her life told BBC that they could not say categorically that she is in the picture.

PK Rosy was born in Rajama’s role in the early twentieth century in the former Travancore Kingdom, now Kerala.

She belonged to a family of grass cutters from the PULAYA community, which is part of Dalits, who were at the bottom of the harsh hierarchy of India and were historically suppressed.

“People from a state of state were considered a slave work and were sold by the ground on the ground,” says Malaavika Beni, a history professor at Canor University.

“They have been considered” less. “They were retreated, raped, tied them, and set fire to any of the so -called abuses.”

Despite the terrible social challenges, Rosy chose a dream differently.

She was supported by her uncle, who was a theater artist himself, and with his assistance, Rosie entered the field of entertainment.

“There are a few facts available about Rosy’s life, but it is known that she was common to her performance in local plays,” says Vino Abraham, author of the Lost Heroine, a novel that relies on Rosy’s life.

While her acting skills gained admiration, it was rare for a Dalite woman to act at that time.

“It is possible that she is aware of the fact that this is a new square and made itself an important visible,” says Professor Benny.

Soon she became a well -known figure in the local theatrical circles and gained her talent, director JC Daniel, who was then looking for a major actor for his movie – a character called Sarojini.

Daniel was aware of the identity of a Russian class and chose to throw it in this role.

“I paid five rupees per day for 10 days of filming,” said Abraham. “This was a large amount of money in the twenties of the twentieth century.”

On the day of the film’s premiere, Rosie and her family were prevented from attending the show.

They were stopped because they were Dalitz, says the nephew of Rosie Peugeot Joufindan.

Thus, a series of events that prompted roses from the public eye and its home began.

Mr. Abraham said: “The crowd that came to watch the film was provoked by two things: Rosie plays a role in the upper layer and the hero who chooses a flower of her hair and kisses him in one scene.”

“They started throwing rocks on the screen and chasing Daniel away,” he added.

There are different accounts of the extent of damage to the theater, but what is clear is the losses that the accident has taken on both Rosy and Daniel.

Daniel spent a lot of money to create a studio and collect resources to produce the film, and he was suffering from debt. In the face of massive social and financial pressure, the director, who is now widely considered a father of Malaylamia cinema, has not made another movie.

Rosie escaped her birthplace after the angry mobs lit her home.

She cut all relationships with her family to avoid identifying her and did not publicly talk about her past. She rebuilt her life by marrying a upper -class man and took Rajamal’s name.

She lived the rest of her life in mystery in the town of Nagirwell in Tamil Nadu, says Abraham.

Her children refused to accept that PK Rosy, actor Dalit, was their mother, says my nephew Rosie Mr. Govindan.

“Her children were born with Kissavan Pelay’s upper identity. They chose their father’s seed on the womb of their mother.”

“We, her family, are part of the Dalite identity of PK Rosy before the movie was released,” he said.

“In the area inhabited by, the class is limited to accepting their dedications heritage. This is their reality and our family has no place in it.”

In 2013, Malaylamia TV channel Rosie Badma’s daughter, who lived in financial stress somewhere in Tamil Nadu. I told them that she did not know much about her mother’s life before her marriage, but she did not act yet.

The British Broadcasting Corporation made attempts to contact Russian children, but their relatives said they were uncomfortable with this interest.

Professor Benny says that erasing a Russian legacy shows the extent of the shock based on the deep layer.

“It may be so much that it constitutes or determines the rest of a person’s life,” she says, adding that she is finally happy with a safe space.

In recent years, the Dalit film and activists have sought to restore the Rosie legacy. The influential Tamil director PA Ranjith launched an annual cinematic festival in its name, celebrating the cinema Dalit. A Film community The foundation was also established.

But there is still a painful feeling that although Rosie had been saved in the end, he was at the expense of her passion and identity.

“Rosie gave priority to staying on art, and as a result, she never tried to speak publicly or restore her lost identity. This is not her failure – it’s a society,” says Govindan.

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