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Rajan (Thikkurishi Sukumaran Nair) marries a sex worker(Omallur Chellamma). He intend give her a life and make free her family from insult. The attempts at social reform bring them in direct conflict with vested interests keen to preserve the old order.

Thikkurishi Sukumaran Nair, acting in only his first movie, is visibly at sea. His inexperience is in contrast with Omallur Chellamma, who's assured as ever. She looks every bit the star of that era. The surprise package however, is Vaikom P. M Mani as the villainous Madhu. Despite the stagy dialogue delivery, he's supremely convincing as the scheming, vicious assistant to the reactionary zamindar.

What is remarkable is the manner in which the patriotism undertones have been concealed. The dialogue and lyrics writer Thikkurishi Sukumaran Nair did an amazing job of slipping in perfectly innocuous sounding words carrying patriotic undertones beneath the surface. Frankly, I gave two extra marks just for Thikkurishi's brilliant play with words.

The acting is typically stagy and the dialogue delivery stilted and unnatural- as is the case with early talkies pretty much anywhere in the world. The dialogue delivery frequently grates, distracting from the other merits of the movie. Sthree is best seen as a piece of cinematic history. It was perhaps the first ever psychological movie in the history of Malayalam cinema.

The history of Indian cinema starts with the silent movie 'Raja Harishchandra' (1913) produced and directed by Dadasaheb Phalke. The legend of the King of Ayodhya, Raja Harishchandra, might be the most repeated Hindu mythological episode adapted for Indian cinema. It was repeated seven times during the Silent Era and more than 25 times in various languages later. The Malayalam film 'Harishchandra,' was the first mythological produced under the banner of 'Neela Productions' and perhaps the first successful Malayalam film in this genre. Anyone who watches this film closely is sure to find that it is a carbon copy of two other South Indian films which told the same story, 'Satya Harishchandra' (Kannada-1943), which was successfully dubbed into Tamil, and another original Tamil version of the same story, 'Harishchandra,' released in 1944. The Kannada versionis considered to be the most successful film on this story. The Tamil dubbing is believed to be the first dubbed film in South India. The Malayalam film copied scenes from both the Tamil and Kannada versions. The sets, costumes, song sequences and even the dialogues, in some of the scenes were exactly the same. Though both the Kannada and the two Tamil versions had long runs in the state, the Malayalam film was also a runaway success. Clever camera tricks by N.S.Mani and directorial skills of Antony Mithradas gave life to the magical scenes. At a time when technology was not developed, with limited resources at their disposal, they did an appreciable job. Scenes of natural calamities, wild animals attacking the villages etc. were filmed using camera tricks and included effectively in the film. Based on a popular Mahabharatha legend, the film is about King Harsishchandra's devotion to truth. The wager between the two sages, Viswamithra and Vasishta brings hardships to Harishchandra. Sent to exile by Viswamithra for profaning his 'yaga' Harishchandra is separated from his wife Chandramathi and son Lohithaksha. Chandramathi and Lohithaksha become slaves to the landlord Kalakanta. Harishchandra is reduced to becoming an attendant in a cremation ground and given the charge to execute Chandramathi. Moved by the king's sacrifice, honesty and devotion to truth, the Gods descend and brings the morality play to a happy conclusion. Thikkurissi as Harishchandra, Miss Kumari as Chandramathi, G. K. Pillai as Viswamithra, Master Hari as Lohithaksha and Jose Prakash in the minor role of Harishchandra's minister Satyakeerthi performed their roles well. S. P. Pillai as Kalakanta and Adoor Pankajam as his wife did well in what were different from their usual comedy roles. The film had 15 songs penned by Thirunainar Kurichi and tuned by Brother Lakshmanan. This film is considered as the first Malayalam film of playback singer P. B. Sreenivas though there is some difference of opinion on this point. The song 'Mahal thyagame mahithame...' sung by him became a hit. 'Atmavidyalayame...' sung by Kamukara Purushothaman remains one of the best by the singer and one of the best in the language. The lyrics and the sequence seems to have been inspired by the famous Grave Diggers scene in Shakespeare's 'Hamlet'. Another song 'Aarundu chollan...' (P.Leela-Kamukara), though an imitation of the Tamil film song 'Vettunda kaikaley...' by P. A. Perianayaki from the film 'Jnanasoundari' (1948) also became a huge hit. Will be remembered: As the first successful mythological film in Malayalam. For the song 'Atmavidyalayame...' and also as the Malayalam debut of singer P.B.Sreenivas.

Most of the social movies of the 1950s had unusual twists and turns. Malayalam film producers and directors also followed this trend that was popular in the Tamil and Telugu films of the day. Manasakshi, released on August 20, 1954, was a compilation of sequences from such social films. Produced by Akhileshwar under the banner of Ishwar Productions, the story was developed by the 'story department' of the production company. Dr. P.S. Nair and actor- lyricist-writer Vaanakkutti (real name Raman Pillai) wrote the dialogues for the film. Directed by G. Vishwanath, the film was shot at Central Studios, Coimbatore. The story of Ammaye Kaanaan (1963) closely resembled this film.

Cinematography was by K.Gopal, editing by the director himself, and music by a new composer SGK Pillai, but the songs were imitations of popular Hindi tunes.

Prem Nazir, Kottarakkara Sreedharan Nair, P. A. Thomas, S.P. Pillai, played significant roles in the film. Popular Tamil actress and dancer Rajasulochana was introduced to Malayalam cinema in this film. This was also the debut Malayalam film of playback singer T.R. Gajalakshmi.

Nanu Panicker (Pallom Joseph) who worked in an estate in Ooty entrusted his savings to his brother Pachu Panicker (P.A. Thomas) a document writer in his native village. Pachu Panicker swindled this money forcing Nanu Panicker to work as a ferryman for his livelihood. Lakshmi (Rajasulochana), the only daughter of Nanu Panicker, falls in love with Soman (Prem Nazir), whose father Sreedharan Kartha (Jose Prakash) was indebted to Pachu Panicker. Pachu Panicker wanted to marry his daughter Sarala (T.R. Omana) to Soman.

Soman gets selected for Civil Service and leaves for Delhi. Lakshmi becomes pregnant and out of shame, Nanu Panicker attempts suicide. He is arrested and sent to jail. Lakshmi joins an arts troupe 'Kalalayam,' owned by Kuttan Pillai (S.P. Pillai) of which Rajasekharan (Kottarakkara Sreedharan Nair) is a member.

The arts troupe produces a film with Lakshmi as the heroine. Lakshmi becomes a popular actress and adopts the screen name Madhuri. She gives birth to a son, but the baby is sent to an orphanage by Kuttan Pillai who does this without Lakshmi's knowledge.

Pachu Panicker's daughter Sarala who is a teacher in the orphanage school brings up Lakshmi's child without knowing the truth. Sreedharan Kartha calls Soman back intending to unite him with Lakshmi. But they could not find her. Soman is appointed as magistrate. Pachu Panicker decides to file a suit against Kartha to recover his dues. Sarala hides the debt document given by Kartha and Pachu Panicker fails to file the complaint. In desperation, Pachu Panicker attempts to murder Kartha and is arrested.

Rajasekharan attempts to molest Lakshmi and in the ensuing scuffle he is stabbed to death. Lakshmi is arrested for murder. The case comes before Soman. He recognises Lakshmi and refers the case to the Sessions Court.

Soman resigns as magistrate and appears in the Sessions Court to defend Lakshmi. He is able to prove that the killing was in self-defence. Soman, Lakshmi and their lost child reunite.

Prem Nazir and Rajasulochana impressed and formed a popular romantic screen pair. They became a hit pair in Tamil films right from Prem Nazir's first Tamil film Thai Piranthaal Vazhi Pirakkum.

Ten songs written by Abhayadev were set to tune by SGK Pillai. Enthinaay virinjidam...(T.R. Gajalakshmi), though a direct copy of the C. Ramachandra composition Ye zindagi usee ki hai ....(Lata Mangeshkar) in the Hindi film Anarkali (1953), and the folk number Neeli penne Neeli penne...(Jose Prakash-Thomas Pallom) became hits. The other popular songs from the film were Maala korkoo Radhey..., Pooja cheyvoo njaan sada...(both duets by LPR Varma-Gajalakshmi) and Pratheekshakal naale niravedidaam... (Varma).

Will be remembered: As the debut Malayalam film of Rajasulochana, singer T.R. Gajalakshmi, and as composer SGK Pillai's first film.