Abstract:
This article explores the impact of movies on shaping public consciousness, focusing on the Beemapally police firing incident in Kerala, which occurred on May 17, 2009. Despite being one of the most significant instances of state violence in Kerala’s history, mainstream media provided limited coverage, often portraying it as a communal clash— a narrative fabricated by the state. In this context, the film Malik, released in 2021, becomes a crucial case study as it is based on the Beemapally police firing incident.
This study aims to address four important questions:
1) How does Malayalam cinema represent coastal areas/residents and Muslims?
2) How does Malayalam cinema contribute to the creation of collective consciousness about certain communities and regions?
3) How are the stereotypical and overgeneralized narrations of the Beemapally region, created by media and cinema, utilized to normalize the Beemapally police firing incident?
4) What are the contradictions and similarities between the movie ‘Malik’ as a work of documentation of the Beemapally police firing?
Through a comprehensive analysis of Malayalam cinema, including its representations of coastal areas, residents, and Muslims, this study seeks to unveil the collective consciousness constructed by these narratives. It also examines how these narrations contribute to the normalization of the Beemapally police firing incident. Additionally, the study explores the role of the movie ‘Malik’ as a documentation of the incident, investigating its contradictions and similarities with the actual events.
By critically examining the historical, representational, and social aspects embedded in Malayalam cinema, this study sheds light on the relationship between cinema, public
perception, and state violence. The findings contribute to a broader understanding of the influence of movies on shaping societal consciousness and provide insights into the complexities surrounding representation and the construction of narratives in cinema.
Keywords: Malayalam cinema, Beemapally police firing, collective consciousness, representation, state violence, Islamophobia.
INDRODUCTION
“Each filmic or academic utterance must be analysed not only in terms of who represents but also in terms of who is being represented for what purpose, at which historical moment, for which location, using which strategies, and in what tone of address.” (Shohat, 1995, p.166-178).
Film and media possess the power to shape collective consciousness and influence societal perceptions. This study examines the role of movies and media in constructing narratives about specific communities or regions, and how such narratives can perpetuate injustice. Focusing on Malayalam cinema, this project delves into the misrepresentation of coastal communities and the perpetuation of Islamophobia.
Mass media, particularly movies, wield a significant influence on individuals and society, shaping perceptions and beliefs. However, the portrayal of characters, particularly those from specific communities, in movies can perpetuate stereotypes and have far-reaching consequences. The way movies represent individuals is often perceived as a reflection of reality, leading to the normalization of false narratives and stereotypes associated with some communities. This issue becomes particularly critical in diverse countries like India, where minority communities face discrimination due to historical biases.
The Beemapally police firing, which occurred in Kerala on May 17, 2009, stands as one of the largest instances of state violence in the history of the state. However, due to social and political factors, the incident received limited public discourse, and justice for the victims remains elusive. Only a few non-dominant minority organizations in Kerala have addressed the issue.
“Malik,” released in 2021, sheds light on the Beemapally police firing, sparking discussions within Kerala’s public sphere regarding the incident, thirteen years later.
Beemapally police firing
On the 17th of May 2009, the Kerala police entered the Muslim residential area of Beemapally, a small seaside town in Thiruvanathapuram, and shot down five men, injuring 52 others. They also killed a sixteen-year-old boy by attacking him with the bayonet of a gun. This was one of the biggest state violence incidents to ever occur in the history of modern Kerala.
According to the villagers of Beemapally, the conflict began on May 8th when a local troublemaker named Kombu Shibu from the Cheriyathura region instigated a fight with them over the Uroos ceremony of the Beemapalli Dargah, threatening to disrupt the event. The tension escalated further on Saturday evening, May 16, when Kombu Shibu and his associates obstructed the buses carrying believers to the Uroos festival. Despite the significance of the Uroos event in the lives of Beemapally villagers, the authorities failed to take action against Kombu Shibu. Consequently, clashes broke out between some Beemapally villagers and Kombu Shibu’s group.
As the police refused to intervene, the tension continued to rise, leading to further altercations. On Sunday, May 17, around 2:30 p.m., the police arrived at the scene and advanced about a hundred meters into Beemapally. It was at this point that they began firing at Beemapally locals who were peacefully engaged in various beach activities.
The inquiry report by Peoples Union for Civil Liberties (PUCL) made it clear that the Beemapally police firing was not justified. The 12 member team including members of senior journalist B.R.P. Bhaskar, PUCL State functionaries P. Chandrasekhar, P.A. Pouran and Jacob V. Lazer found that the police had not followed the set series of procedures before ordering the firing.(PUCL findings about beemapally police firing) The report of the Justice Ramakrishnan Commission that conducted an inquiry into the incident has not been made public yet.
Dr. M.S. Jaya Prakash, the president of Kerala chapter of NCHRO termed the police action as ‘state terrorism’
National Confederation of Human Rights Organisation enquired about the Beemapally police firing and they submitted a report in 2009. the report summarises what really happened in beemapally . the report says there is no communal clash between the chariyathura and beemapally communities, all the native people and religious leaders of Bemmapally and Chariyathura agreeing with that. The police firing took place at around 2.45pm; But according to the police narrative is 3.30.Five of the six killed were shot in the clothes. There is a puncture mark. The police stop the firing because the bullets ran out.
All of the dead were shot above the waist. No policemen were injured. There is no communal clash between the two communities and people. Everyone was shot in the waist, this Evidence proves that the shooting was intentional to kill people. These are some of the conclusion from the NCHRO report(NCHRO Fact-Finding Reports,2009)
“There are two aspects to the unpardonable attack on Beemapalli. One is that it points to an ongoing struggle between the State and the Beemapalli residents around the issue of the flourishing Beemapalli black market and the conduct of the Uroos Ceremony. The police constantly seek to control these but they often slide out of their hands because of the alternative community structure and consciousness in Beemapalli. In Beemapalli the Mahallu Jamaat (which is a kind of autonomous Islamic body that looks after the affairs of many Muslim communities) is quiet strong and even gives out an identity card to all the residents, which is used for various welfare measures. This social structure gives a certain kind of autonomy to the Beemapalli residents and do not give much space for the police to intervene. The second important aspect of this attack is the fact that Beemapalli as a lower-class Muslim seaside ghetto stands highly marginalized in Kerala”. Observes Dr.Ashraf K & Dr.Jenny Rowena .
Beemapally History
Beemapally is named after Beema Beevi, the mother of Shaheed Mahin AbuBacker, who came to Kerala after Malik bin Dinar to preach Islam. They traveled throughout Kerala for healthcare and religious education, eventually settling in Thiruvallam, South Travancore.
During the rule of Marthandaanda Varma (1478-1528 AD) in southern Travancore, Mahin Abubacker and Beema Beevi gained fame as influential figures. They attracted followers from various religions who converted to Islam under their guidance. However, the monarchy perceived this rise in sectarianism as a threat and sought ways to counter the influence of Islam. The royal government imposed taxes on Beema Beevi and her son, but Mahin Aboobacker resisted, asserting that they did not owe taxes on God’s land. When Mahin Aboobacker went for Hajj in Makkah, the king continued to pressure Beema Beevi, threatening deportation if she did not surrender. Her refusal angered the royal servants.
Upon Mahin Aboobacker’s return, the king attempted to confront him, leading to an attack by the royal army and others armed with spears and clubs. Widespread looting and arson occurred throughout the country. Mahin Abubakar and his unarmed followers fought back to protect their religious freedom, but they were overpowered and killed. Devastated by the loss of her son, Beema Beevi also passed away within 40 days. The
burial site of Mahin Abubakar and Beema Beevi later became known as Beemapally, where prayers are believed to possess healing properties.
According to Fatima, a resident of Beemapally, the majority of its population, predominantly from lower castes like Nadar (formerly a Hindu OBC community), converted to Islam. Presently, approximately 28,000 Muslims reside in Beemapally.
In the 1980s, tensions arose in Beemapally when locals migrated to the Gulf, resulting in increased income and the expansion of the informal Beemapally market. This market is known for its “informal economy,” specializing in the sale of “illegal” foreign items, particularly Indian and foreign movie DVDs and CDs. Beemapally is situated close to Cheriyathura, a community primarily comprising Latin Catholics who are considered OBCs by Christians. Historical conflicts have occurred between these communities.
MALIK
Malik is a 2021 Malayalam crime-drama, written and directed by Mahesh Narayanan. Sulaiman Malik, played by Fahadh Faasil, is the titular character of the film. The film tells the story of a leader from a minority group and displays his character’s life from the age of 20 to 60.Anto Joseph’s production company, Anto Joseph Film Company Pvt Ltd, is behind Malik. Nimisha Sajayan, Joju George, Vinay Forrt, and Dileesh Pothan are other actors who acted in malik. On July 10, 2021, Malik will launch on Amazon Prime Video.
Malik is a sprawling story that spans decades in the life of Ahammadali Sulaiman (Fahadh Faasil), a man who represents different personas for different people. He’s a powerful and well-respected community leader in Kerala’s coastal towns of Ramadapally and Edavathura, but in the eyes of state he’s also a state terror suspect and a persistent stumbling block for a couple of ministers looking to make quick cash. Malik begins with a deftly shot and produced a 10-minute montage of Sulaiman preparing to travel for Hajj, giving the feeling of a dramatic saga unfolding.
Sulaiman’s (fondly called Ali Ikka) growth as an influential local leader who also runs illegal activities. A school dropout, after indulging in petty crimes like selling marijuana to tourists, Sulaiman graduates to smuggling. Alongside, we see his growing clout amongst the locals.
As a mark of protest against their grounds near the mosque being used as a garbage dump, Sulaiman organises a group to deliver the rotting garbage back to the homes where they came
from. He also stops a state-run sand-mining project because he knows it would endanger the homes of the local fishing community. When sub-collector Anwar Ali (Joju George) comes to pick up Sulaiman to be questioned in a murder case, he’s thrown a smug challenge, “If you can take me away from amidst the people of Ramadapally, try and take me sir”. That’s the confidence he has and yet his own mother Jameela turns against him. Aboobacker (Dileesh Pothan), David Christudas (Vinay Fort), and Peter Esthappan(Dinesh Prabhakar) are among Sulaiman’s buddies . The story of Sulaiman’s ascension is made interesting by his continually shifting relationships with them. That, as well as his romance with Roseline (Nimisha Sajayan). Sulaiman and Roseline’s marriage, as well as the birth of their baby (baptised as Anthony but later renamed Ameer at Sulaiman’s request), causes a rift between the Muslim and Christian populations of Ramadapally and Edavathura. The movie Malik potray Sulaiman as a saviour for the oppressed while being a representative of Ramadapally’s ghettoised Muslim population.
The main story plot in ‘Malik” movie is the police firing in Ramdhapally. A police force entered Ramdhapally on the day of t Uroos festival, and the police shot and killed the people of Ramdhapally without any provocation. Many people died in that firing. Suliman’s son Ameer also died from that incident.The mastermind behind the police firing is the state and police. They fabricated the police firing by created a communal clash between Eadavthura and Ramdhapally people by using the David (Vinay Fort). the movie end with the custodial murder of Sulaiman.
Coastal Area and Muslim Representation in Malayalam Cinema
The 1991 film “Godfather,” directed by Siddique-Lal, features a dialogue spoken by a fisherman character that highlights the perceived dangers and unique strength associated with coastal communities. Such conversations can be found in various movies, where they serve as a repeated threat or warning. This portrayal suggests that fishing imbues coastal residents with a distinct power, which may instill fear in others. Consequently, this discourse contributes to the perception of beaches and coastal areas, like Beemapally, as potentially violent spaces, where the inhabitants are easily cast as aggressors. These stereotypical representations create a collective consciousness within popular society, fostering the belief that individuals living in coastal regions require increased police control.
The 1994 film “Commissioner,” directed by Shaji Kailas, begins with a scene set at the Beypore estuary, showcasing boats entering the area. Suresh Gopi, disguised in a black suit, engages in a fight with a group of individuals who arrived on a boat. After revealing his true identity as a policeman, the movie title “Commissioner” appears in a close-up of Suresh Gopi’s face, accompanied by the loud sound of waves in the background. In the subsequent scene, it becomes evident that the initial sequence depicted the confiscation of gold worth Rs 5 crore from individuals associated with Kunjumoitheen Saib. This portrayal establishes a connection between illegal activities, cultural degradation, smuggling, and the Muslim community, thus validating Suresh Gopi’s character as a pro- government leader.
The 2006 film “Balram vs Tharadas,” directed by I. V. Sasi, centers around an explosion that occurs in Hussain Sahib’s field, leading to the police discovering weapons there. Similar to other films in various languages, the movie portrays a Good Muslim Bad Muslim Theory, evident in the Muslim characters throughout the narrative. Salim, the son of Hussain Sahib mentioned earlier, is depicted as having extremist connections and affiliations with numerous underworld figures.
In the film, Hussain Sahib is portrayed as a good Muslim, while Salim is portrayed as a bad Muslim. However, the responsibility for terrorist activities, arms smuggling, and explosions is solely attributed to the Muslim community. These portrayals contribute to the propagation of Islamophobic stereotypes, as exemplified by the movie “Anvar” directed by Amal Neerad in 2007, wherein the notion is reinforced that “not all Muslims are terrorists, but all terrorists are Muslims.”
Baba Kalyani,” a suspense thriller film directed by Shaji Kailas in 2006, reintroduces a prevalent Muslim stereotype by associating Hawala, an illegal money transfer system, with Muslims and a perceived Pakistan nexus. The character Babu, portrayed by Indrajith Sukumaran, is a college lecturer who is later revealed to be the mastermind of a terrorist organization in the state. He is depicted as a Malayali Muslim with connections to Pakistan-based terrorist organizations. The film suggests that he has received Jihadi training in Pakistan and is planning a large-scale attack. Baba Kalyani, played by Mohanlal, is a high-ranking police officer who aims to thwart the impending terrorist attack.
This kind of representation reinforces Islamophobic sentiments within our society. The movie exemplifies how Malayalam cinema contributes to the otherization of the Indian
Geographical and Social importance of the Beemapally Region
The significance of Beemapally lies in its geographical location as a coastal residential area, where the majority of its inhabitants are engaged in fishing activities and other occupations that are dependent on the sea. Additionally, Beemapally is characterized by its Muslim majority population.
The geographical and social importance of Beemapally is particularly relevant in this study due to the stereotypical and Islamophobic representations propagated by Malayalam cinema. These representations have often targeted coastal areas and the Muslim community. Given that Beemapally encompasses both of these characteristics—being a coastal region and a Muslim majority area—it becomes a focal point for examining the impact of such representations.
Beemapally police firing in Malayalam cinema and Media
“The ghettoized Muslim location of Beemapalli has come to be marked as a deviant space that stands away from the mainstream of the capital city of Thiruvanathapuram, which is seen as a caste (Hindu) space inhabited by well-settled government officials. The festivals, rituals and social life of Beemapalli are viewed with suspicion and stereotyped in popular media and discourses”.(Ashraf K & Jenny Rowena)
The film “Traffic,” directed by Rajesh Pillai and released in 2011, includes a dialogue between Ajmal Nasser (played by Anoop Menon) and a police officer. This dialogue provides insights into how Malayalam cinema has influenced the collective consciousness regarding the Beemapally police firing incident.
The dialogue mentions Bilal Colony (Beemapally), a neighborhood adjacent to the mosque, which is predominantly inhabited by minority communities. It implies that the police faced challenges in reaching the area promptly, and it suggests that the colony has been associated with attempts to capture black market goods and instances of shootings.
This dialogue highlights how Bilal Colony (Beemapally) becomes portrayed as a threat due to its association with Muslims and their minority status. It also alludes to the existence of an informal market that sets Beemapally apart within Kerala. Furthermore, the dialogue’s statement about the reason behind the police firing incident misrepresents the region and the actual circumstances surrounding the Beemapally police firing. Additionally, the description may imply a perception that the mosque poses a significant threat to the colony.
Forth Estate Critique (FEC) Google group
“Everything in the press release is sincere. Except for the Beemapally incident. I will fully support the police in what they did over there. No community, however strong they are, don’t have the right to organize a violent campaign. And Beemapally is known for it violent nature. Just go there and spend a few minutes there to feel this hostile nature.” (Forth Estate Critique (FEC) Google group, December 26. 2009).
The above statement is about Beemappally police firing published on an online media platform.
Through the analysis of these dialogues, scenes, and statements in Malayalam cinema, it is apparent that the construction of stereotypical and overgeneralized narratives regarding coastal areas and the Muslim community has profoundly influenced the portrayal of these subjects in films and shaped popular perceptions. These misrepresentations have played a role in the formation of a collective false consciousness specifically concerning the Beemapally region. This fabricated consciousness has been used to Justfy and normalize the Beemapally police firing incident, perpetuating biased narratives and justifications.
Beemapally Police firing and its Normalization
During the period between 1990 and 2009, Malayalam movies and other media outlets depicted coastal areas and Muslims in a stereotypical manner. On May 17th, 2009, the Beemapally police firing incident occurred, and while substantial evidence and reports indicate it was an instance of state violence, the movies and media portrayed it as a result of a communal clash between two communities, aligning with the state’s narrative. The stereotypical and overgeneralized narratives created by the media and cinema about the Beemapally region, Muslims, and other coastal areas further reinforced this state narration. The inhabitants of Beemapally were depicted as violent, associated with terrorist organizations, and considered centers of all illegal activities. Such descriptions and representations served to justify the use of police force against the people of Beemapally and normalized the Beemapally police firing incident.
‘Malik’ Movie and Beemappally Police Firing
The Beemapally police firing incident and the movie ‘Malik’ demonstrate several notable similarities:
Beemapally as Ramadapally: The film ‘Malik’ depicts its story against the backdrop of Ramadapally, which serves as a representation of Beemapally where the actual incident occurred.
Chariyathura as Edavathura: In ‘Malik,’ Chariyathura is portrayed as Edavathura, a Christian-majority area near Beemapally. Although Chariyathura is known as a Christian- majority locality in reality, its proximity to Beemapally is reflected in the film.
Secretariat and Agraharam : In the movie ‘Malik,’ the character Sulaiman (played by Fahad Fazil) is shown confronting the Secretariat, the administrative headquarters of Kerala located in Thiruvananthapuram. He also visits a place resembling Agraharam, which traditionally represents the ancestral homes of Brahmins. These elements suggest that the film is set in Thiruvananthapuram and indicate that, apart from the Chariyathura area, the majority of residents surrounding Beemapally are upper-caste Hindus or Brahmins. The inclusion of the Agraharam symbol in ‘Malik’ further emphasizes the film’s setting in Thiruvananthapuram and the presence of such communities in the vicinity of Beemapally.
Informal market: Beemapally is known for its vibrant informal market, distinguishing it from other regions in Kerala. ‘Malik’ portrays the presence of an informal market in Ramadapally, reflecting the distinctive characteristic of Beemapally.
Komb Shibu as David: Komb Shibu, a man involved in collecting money through intimidation in Beemapally, is reminiscent of the character David in ‘Malik.’ Both characters employ similar tactics to manipulate and threaten individuals, highlighting a parallel between the film and the real incident.
Firoz as Ameer: The tragic killing of a 16-year-old boy named Firoz, who was attacked by the police, finds a parallel in ‘Malik’ through the character Ameer, Sulaiman’s son, who represents a similar fate.
These similarities illustrate how ‘Malik’ draws inspiration from the Beemapally police firing incident, incorporating elements such as location, characters, and events into its narrative. By mirroring real-life features of Beemapally, the film aims to bring the characteristics and experiences of the region to life.
The movie ‘Malik’ has had a significant impact on the public discourse surrounding the Beemapally police firing in Kerala, which occurred thirteen years prior. The film aims to shed light on the fact that the police were responsible for the killings, highlighting it as a clear case of state violence. However, there are certain misrepresentations and shifts in blame within the movie that are important to consider.
One notable misrepresentation is the portrayal of the political leadership. The Beemapally police firing took place during the tenure of Chief Minister V S Achuthanandan and Home Minister Kodiyeri Balakrishnan, both from the Communist Party of India (Marxist) (CPM) under the Left Democratic Front (LDF). However, ‘Malik’ depicts the character Abu (played by Dileesh Pothen) as the main political mastermind behind the Beemapally police firing, associated with a Muslim political organization. This portrayal attempts to shift the blame by suggesting that the residents of Beemapally are manipulated by their own community leaders.
The film focuses on the politics of the protagonist, Alika, who is presented as the only leader opposing communalism, while the majority of others are portrayed as racists or opportunists who exploit communal tensions. The movie reinforces stereotypes about the Muslim community, including the smuggling of AK-47s from the Gulf and the community not allowing others to enter the mosque during a tsunami. These prejudiced narrations serve to perpetuate public perceptions shaped by earlier collective consciousness created by movies and media, contributing to Islamophobic representations.
It is worth noting that fact-finding reports by organizations like the People’s Union for Civil Liberties and the National Confederation of Human Rights Organization have stated that there were no communal conflicts during the Beemapally police firing incident. However, ‘Malik’ portrays Muslim communal forces as responsible for the altercation that led to the police firing.
Additionally, a forensic team recovered explosives from the Beemapally region shortly after the police firing, leading to theories and justifications for the unauthorized police action. The film ‘Malik’ depicts the smuggling of guns and foreign explosives into ‘Ramadapally,’ further reinforcing racial imaginings. However, the Central Bureau of Investigation, which investigated the source of the explosives, filed a closure report in 2013, stating that no links could be established between the riots and the explosives and failing to establish how they reached the Beemapally region.
Cinema, as a powerful mass communication medium, has the ability to shape society in both positive and negative ways. The representation of various communities, castes, races, genders, regions, and classes within cinema holds significant importance as it influences people’s understanding of others. In the case of Malayalam cinema, there has been a misrepresentation of coastal residents and the Muslim community, leading to the creation of distorted perceptions and manipulation of collective consciousness surrounding these communities. This misrepresentation has served to normalize the injustices faced by these communities, as evidenced by the Beemapally police firing incident. There are notable contradictions between the actual events that transpired in Beemapally and the portrayal of the story in the movie ‘Malik.’ However, it is crucial to recognize that the incident in Beemapally was an act of police terror and state violence.
The film’s portrayal of events and its influence on public perception highlight the complexities of narrative construction and the need for critical analysis when examining representations in cinema and media.
✍🏻 MUHAMMED NIYAS O
(Asst. Professor, Dpt Of Multimedia)
References:
Book:
K Ashraf, Beemapally Markkunathum Oormikkunathum,(malyalam) Tejas Publication
V .Hikmathulla , Islampohobia Prathivicrangal,(malayalm) IPH
Articles:
Beemapalli Police Firing: Kerala’s Own Cultural Amnesia ( By Ashraf K & Jenny Rowena (2011), Two circles)
9 Years of Beemapally, Remembering the Brutal Murder of Muslims by Kerala Police,(The woke journal-2018)
Fact-Finding Reports
NCHRO Fact-Finding Reports,2009)
Peoples Union For Civil Liberties (PUCL)Fact-Finding Report (2009)
Online Portels:
Malik: Between prejudice and reality
/ Adv Hashir K Muhammad https://campusalive.net/malik-film-review/ Beemapally: Merungakathakal
/ Muhammad Shah 42
http://campusalive.net/unruly-archives-of-beemapally/ Beemapally: Selective forgetfulness of ethnic democracy
/SR Geelani
https://campusalive.net/beemappally-racial-democracy-selective-amnasia/ Beemapally is a self-speaking land
/ K Ashraf, Ubaidur Rahman, Sadiq PK https://campusalive.net/beemapalli-field-notes/ When the Brahmin Violence turns seven
/ Adv: C Ahmed Faiz http://campusalive.net/beemapplliday/
Beemapally shooting: An investigation into Malayalam cinema – Jenny Rovina https://bit.ly/2WNouyN
Muslims and Left Patronage: From Gujarat to Beemapally – KK Baburaj https://bit.ly/2w1f7Q7
Kerala’ is still firing on Beemapally.- NP Jishar https://bit.ly/2vZqzMc
Silence louder than gunfire: Beemapally shooting and the public – Hashir K. Muhammad https://bit.ly/beemapally01
Beemapally shooting and Muslim life- c. Muhammad Faiz https://bit.ly/beemapally02
bīmāpaḷḷi: patineānn varṣaṅṅaḷkkippuṟavuṁ muḻaṅṅunna veṭiyeāccakaḷ- ātikh hanīph https://bit.ly/beemapally03 43
Beemappally: Selective Oblivion of Racial Democracy – SAR Geelani / Afif Ahmad http://campusalive.net/beemappally-racial-democracy-selective-amnasia/
Camera views that destroy our common sense – Basheer Thripanachi https://bit.ly/2YD8മാക്സ്
Nine years since Beemapally police firing: Daily politics of coastal violence – Salah Punathil https://bit.ly/2EckUqE
Muslim Territories and Dominant Imaginations https://muslimheritage.in/innermore/56
Kerala Police fires at fishing community, six dead – NCHROhttps://www.nchro.org/index.php/2009/05/18/kerala-police-fires-at-fishing-community- six-dead/
On the Beemapally police shooting: state, violence and community in Kerala, https://www.anveshi.org.in/broadsheet-on-contemporary-politics/archives/broadsheet-on- contemporary-politics-vol-3-no-1/on-the-beemapalli-police-shooting-state-violence-and- community-in-kerala/
Beemapally firings: Leadership portrayal part of larger politics of Islamophobia, says Malayali scholarhttps://www.newindianexpress.com/states/kerala/2021/jul/23/beemapally-firings- leadership-portrayal-part-of-larger-politics-of-islamophobia-says-malayali-schola-2334028.html ‘Malik’ Review: Fahadh Faasil, Mahesh Narayanan Tell an Intense, Engaging Saga https://www.thequint.com/entertainment/movie-reviews/malik-film-review-fahadh-faasil-nimisha- sajayan-dileesh-pothan-mahesh-narayanan-malayalam-movie-review#read-more
12 Years Later, Fahadh Faasil’s ‘Malik’ Reminds Kerala’s Beemapally of Trauma https://www.thequint.com/entertainment/fahadh-faasil-malik-mahesh-narayanan-kerala- beemapally-2009-police-firing#read-more
