EUPHEMISING STALKING SUBTITLING DESIRE AND GENDER POLITICS IN PREMAM

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 Film and society share a bidirectional relationship, with cinema reflecting and shaping cultural norms. This essay condenses a critical analysis of the 2015 Malayalam film Premam, directed by Alphonse Puthren, starring Nivin Pauly. Despite acclaim for its nostalgic romance and male camaraderie, the film normalizes stalking, misogyny, racism, and boundaryless desire, amplified by euphemistic English subtitles that mask problematic elements for global audiences .


Problematic RepresentationsPremam traces protagonist George's romantic pursuits across life stages, glorifying obsessive behaviors as charming love. His relentless stalking of schoolmate Mary—surveillance and overinterpreting casual signals—shifts from affection to obsession, framed as teenage fun. Interactions with college teacher Malar blur professional boundaries, prioritizing male desire over ethics and power dynamics, embodying patriarchal entitlement .Racism emerges through comedy, with dark-skinned characters labeled "Karimakkan" (blacky) or "rithikroshan," coded as villains opposing privileged protagonists. Songs like "Aval Vendra" objectify women via lyrics reducing them to physical allure, reinforcing the male gaze where female value derives solely from George's attraction .


Subtitling and Cultural DistortionSubtitles domesticate regressive content, turning sexualized intent innocuous. In "Aval Vendra," "Mutti mutti nadakkan, Thottu thotturumirikkan" (evoking physical touch and flirtation) becomes "walk touching, sit close and play dating game," sanitizing desire. "Kozhi" (rooster, slang for lecher) mistranslates as "swan," misleading non-natives. "Petta Thalla polum sahikatha" (even mother can't tolerate) renders as "drooling but no reply," diluting desperate objectification .Implications and Ethical CallDrawing on gender studies, film theory (Mulvey's male gaze), and translation theory (Venuti's foreignization/domestication), subtitles perpetuate stereotypes by filtering cultural nuances. This erodes critique, romanticizing stalking and racism. Filmmakers, translators, and viewers bear responsibility: foreignization could expose issues, fostering consent and agency to evolve cinema beyond inequality mirrors .


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