The Lost Homeland: A Study of Displacement and Identity Crisis in the Movies Arabikkatha and Garshom

Ms. Aleesha Joseph

Research Scholar

Department of PG Studies and Research in English

Kuvempu University

Shivamogga, Karnataka.

Abstract

Gulf migration, being an important episode in the history of Kerala, has profoundly influenced the socio-cultural fabrics of the state. The Gulf countries and the labor migration has always been an important subject matter for Malayalam films. This paper explores how Malayalam cinema portrays the psychological and cultural alienation experienced by migrants by examining two movies, Arabikkatha (2007) and Garshom (1999). This paper primarily focuses on the complexities of cultural displacement and the identity crisis faced by characters who are navigating their life between two worlds. Arabikkatha follows the ideological struggle of Cuba Mukundan, a hardcore communist who confronts the harsh realities of capitalism in the Gulf. He is always in a tug of war between his political ideologies and economic necessities. Garshom depicts the life of Nandagopan, a returnee from the Gulf, who struggles with alienation and a loss of purpose even after returning to his homeland. His journey reveals the disillusionment of returnees who feel disconnected from both their past and present. Through these two movies, this paper addresses issues like identity fragmentation, belonging, and the emotional costs of migration and highlights how Malayalam films serve as cultural texts that interrogate the migrant experiences, offering insights into the personal and collective struggles of the expatriates.

Keywords: Migration, Gulf, Kerala, displacement, identity crisis

Introduction

“Identity is not a set of fixed attributes, the unchanging essence of the inner self, but a constantly shifting process of positioning” (Hall, 16). Identity is not a fixed construct but a fluid negotiation shaped by personal history, societal expectation and the longing for belonging. While identity is adaptable, identity crisis arises when individuals are caught between conflicting cultural, social or personal experiences, making it difficult to achieve a sense of belonging. In the process of migration, individuals negotiate with their past and present selves which leads them to confirm to multiple and sometimes, opposing identities at once. Identity crisis and cultural displacement are both interwoven experiences that shape individuals navigating multiple cultural landscape. With the large scale of labour migration from Kerala to Gulf countries, these individuals struggle to reconcile their inherited cultural roots with the realities of their new adopted environment. During the period of Gulf boom, when oil-rich Gulf countries started recruiting Indian workers, many Keralites have migrated to the Gulf region in search of employment and better living conditions. This has led to significant changes in the social, cultural, and economic fabric of Kerala, making Gulf migration a compelling subject for Malayalam cinema. Malayalam cinema, reflecting the lived realities of the migrants, have frequently explored the lives of the expatriates, using compelling stories to portray the dual lives of migrants who are caught between their homeland and their host countries. Arabikkatha (2007) and Garshom (1999) are the two Malayalam movies that provide rich insights into the psychological and cultural struggles of Gulf migrants. Arabikkatha directed by Lal Jose, starring Sreenivasan in lead role depicts the ideological transformation of Cuba Mukundan, a hardcore communist, whose encounter with the capitalist realities of the Gulf challenges his political ideologies and cultural identity. The film captures the sense of rootlessness and ideological conflict that defines his migrant experience. Garshom, directed by P. T. Kunju Muhammed, starring Murali in lead role, portrays Nandagopan, a Gulf returnee struggling with a loss of purpose and belonging after failing to reintegrate into his homeland. His disillusionment with the changing political landscape, particularly the modern practices of communism in Kerala, intensifies his identity crisis. Both these films explore the themes of cultural displacement and identity fragmentation in the context of Gulf migration. The emotional and ideological struggles portrayed in Arabikkatha and Garshom highlight the personal costs of migration, offering a critical lens on the consequences of pursuing the Gulf dream.

Displacement and Identity Crisis in the Movies Arabikkatha and Garshom

Arabikkatha follows the journey of Mukundan Menon, popularly known as Cuba Mukundan, a devout communist who is deeply committed to leftist ideologies. Due to political atrocities and financial instabilities, Mukundan is forced to seek employment in Dubai to pay off family debts. The film explores his cultural shock and ideological conflict as he confronts the harsh realities of a capitalist world far removed from his political and ideological beliefs. Mukundan's experiences in the Gulf, his interactions with other migrant laborers, and his evolving relationship with a Chinese woman named Chen anchor the narrative. The film examines the dichotomy between ideological beliefs and practical survival, making a powerful statement on the complexities of migration. Garshom tells the story of Nandagopan, a former Gulf migrant who returns to Kerala after 12 years of working abroad. Even after working for years in Gulf, Nandagopan was unable to find a solution for his financial instabilities. Unable to secure a stable job and burdened with the financial responsibilities of his family, Nandagopan faces a growing sense of alienation. His attempts to reintegrate into his own homeland are complicated by his disillusionment with the contemporary communist movement, which has drifted from its original ideals. The film depicts his struggle with cultural displacement, the loss of identity, and the emotional toll of migration. Garshom is an exploration of the returnee migrant experience, highlighting the unfulfilled promises of the Gulf dream and the harsh realities of life back home.

“One’s language and culture determine a major part of who you are as individuals. When these parts are abruptly taken from one’s life, they rush for new ways to make meaning of these missing components, they feverishly hunt for a method to reassemble the shattered bits of who they are.” (Hamodic, 2057) In both Arabikkatha and Garshom, the protagonists struggle with cultural conflicts that emerge from their migration experiences, revealing the complexities of living between two contrasting worlds. Both characters embody the cultural and psychological dissonance faced by Malayali migrants. Their journeys highlight the identity crisis that arises when traditional values and globalized realities intersect.

In Arabikkatha, Mukundan Menon, raised on the ideals of communism and deeply rooted in the traditional socio-political fabric of Kerala, finds himself struggling when he moves to Dubai. His communist ideologies clash with the capitalist society of the Gulf. His political ideologies are challenged by the hierarchical nature of labor, the commodification of human effort, and the lack of political freedoms. Mukundan’s cultural disorientation is elevated by his interactions with other migrant workers, who give prominence to economic survival than their ideological commitments. His friendship with a Chinese woman, Chen, broadens his understanding of a globalized world, eventually leading to a reevaluation of his rigid beliefs. Mukundan’s journey reflects the emotional and ideological compromises migrants must make to adapt to a different cultural landscape. In Garshom, Nandagopan’s return to Kerala after years in the Gulf presents a reverse cultural conflict. Having been exposed to the materialistic Gulf culture, he struggles to readjust to the socio-political environment of Kerala. His attempts to revive his former communist identity fail as he realizes that modern communism in Kerala has shifted away from its foundational principles. Nandagopan’s cultural displacement manifests as an inability to reconcile his pragmatic Gulf experiences with the romanticized idealism of his homeland. His sense of belonging is fragmented, caught between the memories of his past and the realities of his present.

According to Stuart Hall “cultural identities are the points of identification, the unstable points of identification or suture, which are made, within the discourses of history and culture”. (226). In both the movies the protagonists grapple with this point of identifications.  In Arabikkatha, Mukundan’s longing for Kerala and its cultural ethos adds to his sense of displacement. The lack of familial and social connections in the Gulf makes him yearn for a home that feels increasingly distant. His nostalgic memories of Kerala contrast sharply with his current reality, emphasizing his fragmented identity. Mukundan’s reminisces about Kerala while talking to his family over the phone, captures his longing for home and his growing realization that the Kerala in his memories is rapidly changing day by day. It deepens his sense of displacement, as he feels emotionally stranded between two worlds. In Garshom, when Nandagopan tries to find a job in Kerala after he returns from Gulf is repeatedly rejected due to nepotism and bureaucracy. This reflects the inefficiency and corruption in Kerala’s socio-political system, contrasting sharply with the meritocratic environment he experienced in the Gulf. His inability to reintegrate in his homeland furthers his identity crisis. “If a migrant fails to find a job or is expelled, it can mean the loss of all family savings.” (Castles, 1) Nandagopan’s inability to fulfil his family’s expectations further alienate him. While his family see him as a symbol of success upon his return, his lack of financial stability and failure to achieve the Gulf dream create tension. Society’s judgment of him as a “failed” returnee adds to his internal conflict, highlighting the dual pressures of being a provider and finding personal fulfilment.

Both Arabikkatha and Garshom depict characters whose lives are deeply rooted in communist ideologies, exploring how their beliefs are challenged and transformed through their experiences with Gulf migration.  In Arabikkatha, Mukundan’s romanticized notions of socialism are tested as he observes the struggles of laborers working under harsh conditions without the protection of unions. Mukundan is assigned a menial job in the construction industry, working alongside other migrant laborers from South Asia. Mukundan, who once spoke passionately about workers' rights, feels powerless and disconnected in a system where survival supersedes ideology. His identity as a communist activist is challenged, forcing him to confront his helplessness. Mukundan’s initial resistance to compromise reflects his deep attachment to his beliefs, but his interactions with fellow migrants and the practical challenges of earning a livelihood lead him to rethink his rigid ideologies. By the end of the film, Mukundan emerges with a more balanced understanding, recognizing the complexities of survival in a capitalist society without abandoning his core values of social justice and empathy. In Garshom, Nandagopan, embodies the disillusionment of returnee migrants. His time in the Gulf exposes him to a merit-based, capitalist culture that starkly contrasts with the political landscape of Kerala. Upon his return, he finds the communist party he once revered has evolved into a bureaucratic institution disconnected from its original mission. Nandagopan’s attempts to engage with modern communism led to a deep ideological conflict; the party’s focus on political power and personal gain alienates him. His inability to reconcile his practical Gulf experiences with the outdated ideals of Kerala's communism leads to his existential crisis. The communist red flag, once a symbol of hope and solidarity for Nandagopan, becomes a reminder of ideological betrayal. His disconnection from the modern communist movement illustrates his fragmented identity and disillusionment with Kerala’s socio-political changes. Both characters' journeys reflect the broader commentary on the evolution of communist ideology in a globalized world. Arabikkatha critiques the inflexibility of ideological purity, while Garshom highlights the disconnect between revolutionary ideals and contemporary political practices. 

In Arabikkatha, the scene where Mukundan steps out of the airport into the scorching heat of the Gulf and is immediately struck by the massive buildings and bustling workforce establishes the stark contrast between the serene Kerala he cherishes and the alien capitalist world of Dubai. The grandeur of the city symbolizes progress, but to Mukundan, it feels cold and impersonal, marking the beginning of his cultural disorientation. In Garshom, the scene where Nandagopan returns to his village, welcomed by family and friends who expect him to have achieved the “Gulf dream” sets the tone for Nandagopan’s displacement. While his family views him as a symbol of success, he feels out of place in his own home, burdened by their expectations and his own perceived failures. After his return, Nandagopan spends time alone in his house, reflecting on his past and present, while observing how the world around him has moved on. The house, once a symbol of stability, now feels foreign to him. This physical and emotional isolation mirrors his inner turmoil and the irreparable gap between his past identity and present reality.

The vast, barren desert in Arabikkatha symbolizes the emptiness and isolation of the migrant experience. It also reflects Mukundan’s ideological desolation as he confronts a capitalist world that contradicts his socialist beliefs. The desert’s harsh, unforgiving environment parallels the struggle for survival and the loss of familiar cultural roots. Letters and long-distance communication serve as reminders of home but also emphasize the emotional distance between migrants and their families. Mukundan’s interactions with his family highlight his longing for familiarity amidst the alien Gulf landscape. The passport in both films represents mobility and the aspiration for economic progress, but it also becomes a symbol of alienation. The journey from home to a foreign land, depicted through airplane imagery, marks the physical and emotional distance from one’s roots. The motif of returning home pervades Garshom, symbolizing unfulfilled dreams. Nandagopan’s house, once a symbol of stability and happiness, becomes a site of alienation, representing his failed attempt to reclaim his place in Kerala.

Music plays a pivotal role in enhancing the emotional depth and thematic resonance of Arabikkatha and Garshom, particularly in portraying the experiences of displacement and longing for home. The songs evoke nostalgia, cultural ties, and the psychological turmoil of the characters, emphasizing the identity crisis and the emotional cost of migration. The song “thirike njan”, written by Anil Panachooran and composed by Bijibal, is one of the most poignant elements of Arabikkatha. It captures the deep sense of nostalgia and longing for home experienced by Mukundan. The lyrics vividly describe the familiar sights, sounds, and emotions associated with Kerala, creating a powerful contrast with the landscape of the Gulf. Imagery of coconut trees, the chirping of birds, and the fragrance of jasmine symbolize the cultural and emotional roots that Mukundan yearns to reconnect with. The repetitive refrain of "thirike njan" (I will return) symbolizes his journey toward self-identity and a desire to reclaim a sense of belonging that is out of reach. The song not only conveys personal nostalgia but also reflects the collective longing of countless Malayali migrants. This directly appeals to the collective memory of Malayalis, creating a vivid picture of home that contrasts with the protagonist’s physical and ideological displacement.

Conclusion

A deeper understanding about identity crisis and cultural displacement is essential in contemporary discourse, as they reflect the broader issues of assimilation, alienation and the search for authenticity in a rapidly changing world. The films Arabikkatha and Garshom offer profound insights into the emotional, cultural, and ideological complexities of Gulf migration, illustrating the displacement and identity crisis faced by Malayali migrants. Through the journeys of Mukundan Menon and Nandagopan, these narratives reflect the struggles of navigating between traditional values and the demands of a capitalist world, both abroad and at home. The films’ use of symbols, motifs, and musical elements further amplifies the themes of rootlessness, longing, and the fractured sense of belonging that characterize the migrant experience. Arabikkatha critiques the ideological rigidity of communism when faced with the practical realities of survival in a globalized economy, while Garshom portrays the disillusionment of returnees who find themselves estranged from a rapidly transforming homeland. Together, these films offer a comprehensive exploration of how migration shapes personal identity and cultural connection, revealing the psychological costs of pursuing the Gulf dream. The continuing relevance of these themes underscores the enduring impact of migration on individual lives and collective consciousness, making Arabikkatha and Garshom valuable cultural texts for understanding the human dimensions of Gulf migration.

Works Cited

Arabhikatha. Directed by Lal Jose, Balaji Films, 2007.

Castles, Stephen and Mark J. Miller, editors. The Age of Migration: International Population

Movements in the Modern World. Guilford Press, 2014.

Garshom. Directed by P. T Kunjahammed, Janasakthi Films, 1999.

Hamodic, Shadan & Frak, Amal. “The Trauma of Cultural Displacement”. Alustath Journal for Human and Social Sciences. Vol.61, 2022. Pp 2040- 2059.

Hall, Stuart. “Cultural Identity and Diaspora”. Identity: Community, Culture, Difference, 1990, pp. 222- 237

Hall, Stuart. Familiar Stranger: A Life between Two Islands. Duke University Press, 2017.