Women in Renji Panikker's films can readily be categorized into three ? the devotedly doting, the miserably downtrodden and the seductively vamps. Raudram has its share of these three as well; each sticking to its particular mould with a devoted conventionality that simply refuses to budge. In a tremendously male dominated scenario they have little to do, except linger around adding that faint touch of gloss to an otherwise coarse backdrop. Their words and actions invariably lie linked and subjugated to the manpower that's shamelessly flaunted, irrespective of their professional prowess or individuality.
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