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However, even in commercialization, Malayalam cinema played a dangerous game with caste. Unlike the overt casteism of other industries, Malayalam films practiced a subtle, visual hierarchy. The heroes were often upper-caste (Nair, Namboothiri, or Syrian Christian) landowners, while villains were either "foreign" (Tamil speaking) or coded as lower caste. Films like Thenmavin Kombath (1994) romanticized feudal relations, presenting the lord-vassal dynamic as cute and comedic.

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