Anjali Menon’s Joshua in Koode Is The Epitome Of “Men Written by Women”

While the cinema industry in India has seen a gradual drift in its depiction of men over the years, we continue to see them in roles that portray them to be symbols of unconquerable strength, power and rage, thus succumbing to notions of toxic masculinity. Rarely do we see a male protagonist who is so perturbed by loss or worse, sexual abuse.

Anjali Menon‘s Joshua (played by Prithviraj Sukumaran), the male lead in her film Koode is the epitome of what we call as “men written by women”. Joshua’s journey through the movie unravels his adult life with hints of events from his early adolescence, giving us more context to the person he has become.

Joshua’s character is woven together through scenes that show his adoration towards his younger sister, a dash of neglect from his parents, a prolonged subjection to sexual abuse from a family member, separation from his family at a very young age and the eventual death of his sister. It is not just the incidents in themselves but the entire atmosphere of the film that adds to our understanding of Joshua. While he appears to be numb around the happenings of his sister’s death, the film quickly unravels how Joshua has grown into a sensitive young man, in spite of having a very troubled adolescence.

Joshua is a refreshing take on characters with a troubled past, who otherwise typically are portrayed to grow into angry insensitive young men, with their past traumas as a justification for the rage and violence that they seem to be consumed in. His gentle and sensitive nature can be seen in the incidents following his sister’s death. Through his interactions with Sophie, his parents and even Brownie (the golden retriever), Anjali Menon breaks the dichotomy of rigid masculinities and femininities that plague mainstream cinema.

Not only does she write a character through a feminist lens who is heartwarming to watch but she is also extremely cautious in her depiction of Joshua’s sexual abuse. A less than 30-second shot of Joshua’s uncle wrapping his arm around him with a squeeze is enough to cause discomfort without being overtly triggering. The scene involves no dialogue. And yet, the scene holds so much weight in the character arc of Joshua and the essence of the film.

This style of writing and direction is not limited to Koode and can be seen across Menon’s films. Whether it is Manjadikuru, Ustaad Hotel or Bangalore Days, her characters are fragile, lonely and most importantly, flawed, making them human and relatable. Done subtly but with impact, the movies do not shy away from portraying their male protagonists as victims of loss, abuse or as those grappling with loneliness internally. It is for this reason that her movies have aged well and continue to remain relevant, especially at a time when mental health issues are being understood to be common to all.

In an industry where commercial cinema is dominated by male directors, Menon (along with Geetu Mohandas who deserves an entire appreciation post for herself) has managed to stand out for writing exceptional characters and storylines that do not bother with the pretence of unrealistic niceties of life. This, the audience can truly empathise with and isn’t that what a feel-good cinematic experience is about?

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