There is no evidence to prove this theory. The sheer size of the dining hall adjacent to the kitchen speaks volumes of the number of people who must have sat down for a meal at the same time in the olden days.Īmong the volumes of quaint lore surrounding the Mana, one says that the basic structure was planned and initiated by Perumthachan, the legendary carpenter who achieved cult status in Kerala due to his extraordinary gift. Kitchen is a separate wing behind the house, built like an elongated hall. The four wings of the nalukettu are referred to after the directions they are in – 'thekkini,' 'vadakkini,' 'kizhakkini,' and 'padinjattini' which correspond to south, north, east and west sides of the house. The corridors branching off from the verandas lead to rooms in the interiors. Come summer or winter, it is always cool inside the Mana.įour long verandas are connected to make the square structure of the nalukettu.
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The roof resting on 10-feet high walls allow free air flow inside the house. The stairs lead up to a door which can be locked from upstairs.
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The symmetric arrangement of double panel doors and windows on each floor, giving the impression that they are stacked one on top of the other, makes for a visual treat. The structure has three floors with walls of red bricks, six-feet long windows and tiled roof. The entire complex of the Mana stands on a four acre plot. A perfect rectangle, the veranda complements the larger open space of the 'nadumuttam' – the backdrop of the dance scene in 'Narasimham' where Mohanlal, Jagathy, Vasundhara Das and a whole assortment of stars danced to the groovy number 'Dham dhinakka dhillam dhillam.' All of them could comfortably sit cross-legged on the roomy platform. The raised platform of the veranda used to accommodate gatherings of around 50 men. The entrance to the 'nadumuttam' is through a corridor on the left end of the veranda. The portico was redone under the able guidance of architect Krishnan Namboothiripad. The walls on either side of the door were painted with murals when filmmakers conjured up the perfect setting for ostentatious feudal lord characters. The main entrance to the house form the portico now stays closed by default. Nalukettu – the four pronged structure that makes up the house – is built to house a family of two hundred and odd members. The architect of the Mana, Jatadevan Namboodiri, was renowned to be a master craftsman during his time. The main door is bedecked with brass plating like those typically scene on special doors in mansions and palaces of Kerala. The feudal arrogance of 'Mangalassery Neeakandan' - the hero of 'Devasuram,' was never more effectively stated than while reposing on a strategically positioned armchair on this very portico.
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I V Sasi, the habitual hit-maker of Malayalam movie industry, rightly gauged the vibes of this portico even in its time-worn pre-stardom state. The carved wooden pillars, ceiling and the ornate barricade add to the royal splendour of the setting.
The magnificent woodwork evident in ordinary pieces like the doors and windows and the intricate structures like roofs, stairs and corridors stand testimony to the architectural brilliance that Kerala could boast of.Īn elaborately done up portico greets visitors to the Varikkassery Mana. A stroll, taking in the details, from the gate to the pond will take a good two-and-a-half hours. The colossal structure of the old house is made up of a 'nalukettu,' an open courtyard or 'nadumuttam' around which the house is built and two built-in granaries or 'pathayappura.' The compound also houses a large pond and the 'kudumba kshetram' – a temple attached to the premises of the house where the family deities are worshipped. Visitors walk down the long corridors, roam around in the expanse of its interiors and the open courtyard, reliving their favourite scenes in movies. Such has been the presence of the house on screen that it turned a tourist spot over the years. Varikkasseri Mana, with its eloquent presence, completed the picture like in most of the successful versions. The movie spawned a whole genre of Malayalm flicks that fed off the bright side of the feudal order. Though filmmaker I V Sasi intended them as symbols of the decadent values of a feudal society, both the Mana and Neelakantan came to represent abiding valiance in the hearts of Malayali audience. Rising to the status of a character that shared screen space with the actors – one that defined Mohanlal's 'Mangalassery Neelakandan' in many ways – the Mana has since turned a superstar in its own right. The gargantuan home that showcases traditional Kerala-style architecture in all its glory has been more than a mere backdrop since its first appearance in the run-away hit 'Devasuram' (1993).
To describe Varikkasseri Mana as one of the most sought after shooting locations for Malayalam movies will be to understate the stardom it enjoys.
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