Malayalam film industry has witnessed another permanent void being added with the passing of actor, director, and screenwriter Sreenivasan. He debuted as an actor in PA Backer’s Manimuzhakkam in 1976. He acted in over 225 films and has bagged several awards, including the National Award and Kerala State Awards. His legacy and contribution to the industry will be remembered by his brilliant performances in his illustrious film history.
The Sreenivasan touch in pre-production: Penning scripts
Priyadarshan’s Odaruthammava Aalariyam (1984), which tells the story of three flirtatious youngsters falling for a girl who is the daughter of the coquettish man whom they befriended, marked Sreenivasan’s debut as a screenwriter. The commercial success of the film was the green flag of the actor’s promising screenwriting career, which was once again proven with the success of Mutharankunnu P.O., following Odaruthammava Aalariyam.
The wind that wandered into town, boarding overseas, and the hunt for Paul Barber’s Crown
The films Naadodikaattu (1987), Pattanaprevesham (1988), and Akkare Akkare Akkare (1990) enjoy a separate loyal fan base, owing to the iconic CID duo Ramdas and Vijayan (Mohanlal and Sreenivasan). This Malayalam trilogy will be forever hailed as one of the top Malayalam buddy-comedy film series. Among these, Naadodikaattu and Pattanaprevesham were written by Sreenivasan. Even when the stories in these films grew tense, leaving us discombobulated about things that will get resolved in the end, we almost forget what Vijayan has reminded us in Naadodikaattu that there is a right time for everything.
Pre- and post-Gulf life
Sreenivasan has always demonstrated his intelligence in communicating the stories of those who left their homes for the Middle East to improve circumstances back home. The 1989 Mohanlal-starrer Varavelpu now regarded a classic, saw Muralidharan (Mohanlal) as the representative voice of many migrants, addressing their issues while leading the migrant life and later returning home to find more challenging circumstances. Interestingly, Sreenivasan played migrants again in Arabikkatha and Pathemari.
Why didn't Shobha find it funny?
Maybe because she couldn’t digest the fact that it’s the same man who wrote other masterpieces, or maybe because she sees him in front of the camera. Vadakkunokkiyantram, released a month after Varavelpu, had Sreenivasan as its director and screenwriter. The movie bagged the Kerala State Film Award for Best Film and Music Director. The photograph frame of Thalathil Dineshan, side-eyeing his wife, will be etched in the memory of every Sreenivasan fan.
The power of 'Thalayanamanthram'
Another massive hit born out of Santhyan Anthikad and Sreenivasan's reunion, Thalayanamanthram portrayed how the life of an individual changes after marrying a partner with aspirations for an upgraded life and a higher social status.
The philosophical review of politics
Sreenivasan held multiple positions in the production of the movie Sandesham. Among the many political satires that enriched Mollywood, Sandesham will always be mentioned alongside KG George’s Panchavadi Palam in any political movie discussion. It depicted a family drama in which two sons, who happened to be staunch supporters of two different political parties, trigger heated political debates at home, and disrupting their parents’ peaceful existence. Another iconic political character that Sreenivasan played is Cuba Mukundan from Arabikatha.
Speaking on behalf of all the Shyamalas
Skepticism has always existed regarding Malayalam movie history’s slow-paced depiction of its housewives. However, the subject found wide acceptance with Chinthavishtayaya Shyamala, which Sreenivasan wrote and directed. He essayed the irresponsible Vijayan, who eventually left his family in a bad state. Vijayan finds his escape in the name of turning to spirituality, and Shyalama, along with their two daughters, has to shoulder the burden of their family. The movie won the National Film Award for Best Film on Other Social Issues.
Bharata Muni’s Natyashastra or Sreenivasan’s Natya Shastram
Udayananu Tharam explored the struggles behind pursuing a life under the limelight, be it ethically or otherwise. The film, written by Sreenivasan, was directed by Roshan Andrrews. The character of Sreenivasan, depicting the evolution of Rajappan Thengummoodu to Superstar Saroj Kumar after stealing the script of a struggling, budding director, Udayabhanu (played by Mohanlal), was one of his funniest and most cunning characters.
The lowkey link between Paul Barber and Barber Balan
Katha Parayumbol was yet another strong effort from Sreenivasan, who handled the screenplay as well as its production. Even when he served his audiences with a plethora of Mohanlal-Sreenivasan films, he never forgot to produce a fair share of Mammootty-Sreenivasan films. Their combinations resulted in films like Mazhayethum Munpe, Azhakhiya Ravanan, Oru Maravathoor Kanavu, Megham, and many more.
Fading out by gifting the best
Fahadh Fassil-starrer Njan Prakashan (2018) slightly signaled Sreenivasan’s withdrawal from his writing career. He also authored ‘Padachonte Thirakkathakal'. The veteran actor proved to be the best family filmmaker with many of his films. Truly, the actor’s demise will never affect the resonance of Thattan Bhaskaran’s sparkling revenge, “Ippo engane. Thattan thattiyo?” and Thalathil Dineshan greeting his father-in-law right after injuring him, mistaking him as an intruder.
