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Unlike Bollywood’s "angry young man" who fights a system for personal revenge, the Malayalam hero of the 1980s and 90s was often the everyman —a weaver, a goldsmith, a union leader. K. G. George’s Yavanika (1982) used a missing tabla to expose the corruption within the cultural troupes of Kerala. John Abraham’s Amma Ariyan (1986) was a radical critique of the Naxalite movement, questioning whether the revolution ate its own children.

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