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The resignation of Mohanlal as President of the Association of Malayalam Movie Actors (Amma) reflects a significant shift in the Malayalam film industry amid serious allegations of sexual assault and abuse. The resignation of the entire executive committee further underscores the gravity of the situation. The Justice Hema Committee report, which had been suppressed since 2019, was recently made public, exposing multiple cases of abuse within the industry.

Prominent figures, including veteran actor Siddique and filmmaker Ranjith Balakrishnan, are facing severe accusations. Siddique, who resigned last week, has filed a police complaint against his accuser, while other actors like Baburaj and M Mukesh are also entangled in allegations of sexual misconduct. Minu Muneer’s accusations against actors like Jayasurya and Maniyanpilla Raju have added to the controversy, prompting calls for an investigation.

The Kerala government has responded by setting up a Special Investigation Team (Sit) to look into these charges, but...

Shaji Kailas is one of the most popular and influential directors in Malayalam cinema. He is known for his action-packed movies that often deal with political and social issues. He has directed over 40 films in his career, spanning from 1989 to 2022. His movies have featured some of the biggest stars of Malayalam cinema, such as Mohanlal, Mammootty, Suresh Gopi, and Jayaram. He has also won several awards and accolades for his work.

Shaji Kailas has had his ups and downs in his career, but he has always bounced back with his passion and creativity. His latest movies, Kaapa and Kaduva, have been well-received by the critics and the audience, and have marked his comeback to the industry. He has also announced his next project,

In this article, we will look at the top 10 movies of Shaji Kailas, based on their box office performance, critical acclaim, and fan following. These movies showcase his versatility,...

In MemoriamSiddique and his partner Lal were really good with situational humour and made their funniest scenes without stereotyping, at no one's expense.SiddiqueEven though Malayalam filmmaker Siddique, who passed away on August 8, is remembered along with his partner Lal for the films they wrote and directed, the two of them had begun by writing stories that others directed. They contributed to one of the most celebrated films in Malayalam, Manichitrathazhu. They were really good with situational humour and made their funniest scenes without the usual stereotyping, at anyone's expense. Later when they split ways, Siddique continued directing comedies and slipped a few into other languages too. A listicle of his films wouldn't be complete without the early films he and Lal wrote for, and without his later stints in Tamil and Hindi. Pappan Priyappetta Pappan This is the first film Siddique and Lal scripted but it was directed by Sathyan Anthikad.

OpinionThe Shobana-Mohanlal starrer 'Abhayam Thedi' can be called a companion piece to director IV Sasi’s 'Anubandham' and 'Aalkkoottathil Thaniye', in how it depicts family struggles and individual crisis.Mohanlal and Shobana in Abhayam ThediWriter Mt Vasudevan Nair’s worldbuilding in director IV Sasi’s 1986 Malayalam film Abhayam Thedi (seeking refuge) is quite intricate. The stock, dysfunctional, Nair tharavadu (ancestral mansion) has the ‘aesthetics’ of a dominant caste Hindu household — a massive double-storeyed house that still carries vestiges of its occupants' bruised past and fraught present, enclosed by front yards, back yards, ancient trees, ponds, and acres of seclusion. It is to this space that Miranda (Shobana), the granddaughter of the patriarch’s deceased prodigal son returns, hoping to find refuge and solace. Abhayam Thedi can be called a companion piece to Sasi’s Anubandham (1985) and Aalkkoottathil Thaniye (1984) — the milieu, the familial conflicts, and individuals going through an existential crisis.

MollywoodIt is a testament to these actors’ caliber that their changeovers are not only received so well, but actively encouraged by fans of cinema.With that cracking loud voice of his, actor Janardhanan introduces himself – all too politely to the surprise of an audience unaccustomed to seeing him like that – as Ouseppachan, the miserable father-in-law of a woman found dead in the house. He is one of the suspects in the 1988 crime film Oru Cbi Diary Kuruppu. Up until then, Janardhanan had mostly played the unabashed villain in Malayalam films of the 70s and 80s. But for reasons best known to K Madhu, the director of Mammootty’s Cbi series, Janardhanan was cast as the harmless rich guy in the film, whose misfortunes somehow translated into comic relief for the audience. After this, the senior actor played comedian in movie after movie, one of his most loved sequences featuring in Mannar Mathai Speaking,...

ListicleVeteran Malayalam actor Innocent, who died on the night of Sunday, March 26, was known for his unique style of comedy.Lottery scene in KilukkamMalayalis love to quote, midway through a conversation, some old line from a movie that they think is 'just apt' for the situation. Over the years, a number of such dialogues and scenes have become the most commonly quoted, either for the fun of it or owing to the performance of the actors. For many of them, we have Innocent to thank. The much-loved actor, who passed away on Sunday, March 26, had many such memorable scenes and dialogues, remembered for the unique Irinjalakuda slang he rendered them in, and the expressions that could make the toughest person laugh out loud. Here are a few. 1. 'Adichu mole' from Kilukkam From the Priyadarshan film led by the likes of Mohanlal, Revathy, and Thilakan, it is this scene of Innocent...

ObituaryInnocent will go down in the history of Malayalam cinema as a stupendously talented actor, who spread unmitigated joy on screen, writes Neelima Menon.The heavily pronounced Irinjalakuda slang, that bashful tilt of his head, the peculiar gesticulations, the fine balance between subtlety and hyperbole, and the unforgettable one-liners delivered with soft precision. What made Innocent one of the most cheering sights in Malayalam cinema is all of these and more. Like most in his legion of stupendously talented supporting actors, Innocent flourished during the late 1980s and 90s, popularly termed as the ‘golden period’ in Malayalam cinema. It was during this period that Innocent, who had already made his debut as an actor and producer a decade earlier, found that his niche lay in initiating Malayalam cinema into the realm of satire. So after 50-60 films in which he played notable as well as forgettable characters, Innocent allied with...

Malayalam cinemaShammi Thilakan’s real breakthrough came somewhere during the turn of the last decade, with the entry of new filmmakers and writers.Neelima MenonFor the longest time, Shammi Thilakan lived under the shadow of his legendary father Thilakan. Shammi, a stage artist, made his debut on screen in the Kg George film (Irakal) and struggled to find his space in Malayalam cinema shortly thereafter. In hindsight, that his father was already or well on his way to becoming an established actor might have stalled his chances during the initial phases of his career. In the early 90s, the roles that mostly came his way were those of an antagonist, cop, or yes man – largely one-dimensional and unmemorable. Interestingly, Shammi Thilakan was known more as a voice artist during this period. If his deep baritone fitted Raghuvaran (Vyooham) and Salim Ghouse (Thazhvaram) perfectly, it added heft to the wickedness of...

ObituaryAshokan made four well-made feature films around the early 1990s, two of them with Thaha, but stopped being active afterward.Tnm StaffCourtesy - News8Plus / TwitterRaman Ashok Kumar, popularly known as Ashokan, a director of Malayalam films, passed away on the night of Sunday, September 25, at a hospital in Kochi. He was 60 years old and suffered from multiple health issues. He had been admitted at the Lakeshore Hospital for nearly a month. Raman had for years been an associate to renowned director J Sasikumar, who has made more than 130 films in Malayalam cinema. The first film Ashokan independently directed was Varnam in 1989. A psychological drama with Suresh Gopi and Jayaram and Ranjini in the lead, it was noted for its unique storytelling. Ashokan had also scripted the film. His second film Acharyan with a number of actors including Thilakan, Suresh Gopi, Vineeth and Sreenivasan, was written by journalist-scriptwriter B Jayachandran.

Flix FlashbackDirector Kg George’s 1990 film is a strange concoction for an investigative thriller. There are fascinating characters, intrigue and drama, but at its core it is a heart-breaking tale of love and loss.Neelima MenonAsianetA woman is found dead at her home. The police suspect murder and get on with the investigation, meticulously questioning and probing every possible suspect. Ee Kanni Koodi (Connecting the links), another gem from director Kg George, is one of the finest investigative thrillers in Malayalam, which also happens to be relatively less discussed, like most of his films. The frames are bleak, lifelike in characteristic Kg George style. The film, which released in 1990, begins with a long shot of a house with an iron gate enclosing the compound. A man knocks, jots down a note. A while later, another man enters the premises. When he gets no response after ringing the bell, he approaches the police.

CinemaNo one looking at Bhadra would think of her as a femme fatale, her face is stripped of makeup, her eyes indolent. But this charade of naivety is all part of a larger plan.Neelima MenonScreengrab from Disney+ Hotstar The sun is slowly rising. A speck of orange is almost hidden behind the lazy coconut trees, and the sky has turned indigo. There is a small boat ferrying over the backwaters. Night slips into dawn, bringing a large houseboat filled with passengers. Kannezhuthi Pottum Thottu builds its world in the backdrop of Kerala’s backwaters. It captures the exquisiteness of the state (cinematography by Ravi K Chandran) just as promised in the tourism brochures – the enigmatic backwaters, swinging coconut trees, acres of lush greenery, paddy fields, humongous house boats and magnificent nalukettu houses with large front and backyards. Director Tk Rajeev Kumar uses an unusual setting to unleash a tale of a simmering revenge.

Flix FlashbackIn ‘Pakshe’, Mohanlal plays a man who is forced into a marriage, and opts to stay and suffer silently in an abusive relationship. But is he really a victim?Neelima MenonYouTube screengrabDirector Mohan was part of Malayalam cinema’s golden 80s. His films always dealt with the complexities and dysfunctionalities in families. He mostly stuck to family dramas, though he would occasionally try comedy (Oru Kadha Oru Nunakadha) or a crime thriller (Mukham). Families were the cornerstone in his narratives and most stories spoke about the aftermath of moral depravity. In his stories, boundaries were grimly drawn out for women by men. His Pakshe (1994) is an attempt to look at marriage from a man’s point of view. Considering it is widely accepted that women have always been at the receiving end of this unequal social institution called marriage, in Pakshe the husband is victimised. Here is a man...

Mollywood Lalitha’s ability to seamlessly step into the shoes of the character she was playing ensured that she was one of the most sought after supporting actors in Malayalam cinema.Tnm StaffFacebook/ Kpac LalithaKPAC Lalitha, a face that the Malayali audience considered to be their family, is no more. The dearly loved actor appeared in over 550 films, as the sharp-tongued mother, the sassy sister-in-law, the nosey neighbour, the inquisitive wife, and so many other memorable roles that entertained viewers over generations. Her ability to seamlessly step into the shoes of the character she was playing ensured that she was one of the most sought after supporting actors in Malayalam cinema. Born Maheshwari Amma on February 25, 1948, the actor who began her career in theatre and was a member of the Kpac (Kerala People’s Arts Club) group, made her film debut in the 1969 film Koottukudumbam. She went on to win...

TributeAfter years of being labelled a comic actor, Kalpana began to explore performance-oriented roles later in her career, winning a National Award along the way. CrisKalpana in an interview with Kaumudy TVIt shocked her scattered fans across the world when actor Kalpana, always agile and laughing, passed away suddenly on a January morning in 2016. She was 50 and in her prime as an actor, just beginning to prove to viewers that there was a lot more she could handle than comedy. Kalpana had by chance slipped into comedy a few years into her career and then played scores of funny characters, assuring laughter and good times for those who sought entertainment in Malayalam cinema. Much later, she played serious characters in well-made movies, showing a new side of hers that had been little explored. An award came belatedly in 2013 – a National Award, no less – but she didn’t live much longer after that.

Flix FlashbackWith elections nearing, we revisit Sathyan Anthikad's 1991 comedy about a home that's split over politics, way before family WhatsApp groups did it.Sowmya RajendranScreenshot/YouTubeDiscussing politics is a favourite activity with Malayalis. From tea shops to educational institutions, office spaces and the drawing room, political debate is a way of life in the state. And with Assembly elections just weeks away in Kerala, now is as good a time as any to revisit Sandesham, Sathyan Anthikad's 1991 comedy about a home that's split over politics, way before family WhatsApp groups entered the scene and accomplished it. The film is centered on Raghavan Nair (Thilakan) and his five children — three boys and two girls. While the two sisters (Kpac Lalitha and Maathu), the youngest brother Prashanthan (Rahul Laxman) and mother Bhanu (Kaviyoor Ponnamma) add to the plot, the story is mostly about the neverending quarrel between the two older brothers...

Three years after her husband passes away, the widow of the Patriarch of a famous Namboodiri (Brahmin caste from Kerala) family becomes pregnant. The prestige of the family is paramount and the Namboodiris have devised a way to get the family out of this so-called sticky situation with their respect intact. Learned Namboodiris from all over the land would assemble at the house and conduct an enquiry into what happened and all who were responsible. All the while, the family needs to treat these esteemed guests to daily feasts and monetary allowances. In the end, the woman who brought disgrace to the family would be ostracised and left at the mercy of lechers who wait at the gates.

Though it might seem cruel and matter-of-fact, making a motion picture about such a topic is not easy, as it should make sense to the intellect, be aesthetic and challenge status quo.

Flix FlashbackIn the film, Mohini plays a Namboothiri widow who is subjected to an inquisition when she becomes pregnant.Neelima MenonLess than 100 years after the inquisition of Kuriyeddath Thathri, a Brahmin woman, Parinayam came to the silver screen. The inquisition took place in the early 1900s and the film was released in 1994. Written by Mt Vasudevan Nair and directed by Hariharan, it depicts the journey of a Brahmin woman, Unnimaya, from being a widow to a vindicator of her self and self-respect. “For a widow, laughter is more frightening than weeping/ Priestly class, do you know the pain and agony of it?/ It is the fire of this agony that is forever blazing inside namboodiri houses” — Lalithambika Antharjanam At the expansive and decadent Palakunnathu tharavadu, the arena is all set for a Smarthavicharam (inquiry into conduct). The accused Unnimaya (Mohini), the young widow of Palakunnathu Namboothiri, has been imprisoned in a dark,...

Flix FlashbackDirected by Hariharan, the 1987 film not just addresses guilt and redemption, but also talks about depression and drug abuse without harping on it.Neelima MenonAmrutham Gamaya (Path to immortality) is about second chances, about battling guilt, because when you allow it to consume you it has the capacity to cripple you for life. When a seemingly harmless ragging session leads to the death of his junior, Dr Haridas is devastated but his professor bails him out. Years later as a practitioner at a village clinic, the past gets back to him in the form of his poor neighbours who are the family of the deceased student. Written by Mt Vasudevan Nair and directed by Hariharan, the 1987 film not just addresses guilt and retribution, but also, without harping on it, talks about depression and drug abuse. A car drives past Nila, the river luminous, in the backdrop of a setting sun.

Flix FlashbackThe film has once again resurfaced in recent days with its 36th anniversary coinciding with the reconstruction of the Palarivattom bridge in Ernakulam.CrisPhoto courtesy - AsianetThe panchayat president on top of a bench, finding his way out of a scuffle at the office meeting can perhaps be the poster moment of Panchavadi Palam, that much-recounted political satire of 1984, from Kg George. It can also be the stage to which a minister makes his very belated entry and thanks the audience for waiting so long when the camera zooms out and shows a single man with disability, sitting on his plank with wheels. Moments as these, seen and heard and recorded on newspapers hundreds of times, form the scenes of Panchavadi Palam, adapted from a novel called Palam Apakadathil by Veloor Krishnankutty. George wrote the screenplay with cartoonist Yesudasan in 1984. More than three and a half decades later, new Google reviews say,...

MollywoodWords have the power to instigate change. Here’s a list of 10 such dialogues that have led us from revelation to revelation.Neetha JohnSometimes, all it takes to give us a nudge when we are hiccuping through our life is a well-delivered dialogue. Sometimes, dialogues strike us like grand epiphanies and we are suddenly enlightened. Sometimes, words with their sheer power can help us transcend the barriers and boundaries that bind and blind us. Here’s a list of 10 such dialogues from Malayalam cinema where the characters, with their intense charisma, delivered these powerful dialogues that have, in some way, cut to our core and left us a little different and more evolved than what we were before. “Son, anybody can fill your stomach. But the food you eat should also fill your mind. That is the true gift.” Kareem (Thilakan), Ustad Hotel (2012) Sometimes we get so used to what...

ControversyActor-producer Dulquer and director Anoop Sathyan clarified that the reference was to an old Malayalam film called 'Pattanapravesham'.Megha KaveriDulquer Salmaan's Varane Avashyamund released a few days ago on Netflix. Though the film was a blockbuster in Kerala and also enjoyed a good run in the Chennai box-office, it has been plagued by controversy ever since its Ott release. First, a woman journalist accused the makers of fat-shaming her by using her photographs without her consent. The controversy died down after Dulquer and the film's director, Anoop Sathyan, apologised to her. However, the film is now being slammed as many Tamil viewers have misinterpreted the naming of a dog in the film as Prabhakaran, as a deliberate attempt to insult the Ltte chief. Dulquer Salmaan, who has also produced the film, clarified that the joke has nothing to do with the Ltte leader but is a reference to a famous...

ControversyActor-producer Dulquer and director Anoop Sathyan clarified that the reference was to an old Malayalam film called 'Pattanapravesham'.Megha KaveriDulquer Salmaan's Varane Avashyamund released a few days ago on Netflix. Though the film was a blockbuster in Kerala and also enjoyed a good run in the Chennai box-office, it has been plagued by controversy ever since its Ott release. First, a woman journalist accused the makers of fat-shaming her by using her photographs without her consent. The controversy died down after Dulquer and the film's director, Anoop Sathyan, apologised to her. However, the film is now being slammed as many Tamil viewers have misinterpreted the naming of a dog in the film as Prabhakaran, as a deliberate attempt to insult the Ltte chief. Dulquer Salmaan, who has also produced the film, clarified that the joke has nothing to do with the Ltte leader but is a reference to a famous...

Flix Flashback In #WatchWithTNM, we write about Mohanlal-Sreenivasan's 'Nadodikattu' and their endearing bumbling friendship. Sowmya RajendranWhen Dasan (Mohanlal) rushes into a fight with a rich man to impress a woman, Vijayan (Sreenivasan) tells him that he's being foolish. But, when the rich man calls Dasan a 'scoundrel', Vijayan immediately deflates the latter's car tyres. They throw insults at each other all day long but at the first hint of trouble, they turn to each other, shouting "Dasa!" and "Vijaya!". Nadodikattu, directed by Sathyan Anthikad, is a story about survival and it should rightfully have been a tear-inducing tragedy. But, that's not how real life plays out -- real life is often about people finding it within themselves to love, laugh, and make the best of their precarious circumstances. The two bumbling friends, Dasan and Vijayan, are just trying to survive and their life, which is a comedy of errors, never...

MollywoodThe fans will be thrilled with this!One of the biggest blockbuster hits in Mohanlal’s career is undoubtedly Spadikam. The Malayalam film directed by Bhadran hit the silver screens on March 30th, 25 years ago, and still remains a hot favourite among movie buffs of all ages. On the 25th anniversary of Spadikam the director mentioned in an interview with Mathrumbhumi that he is planning to re-release the film soon.“We are re-releasing the movie for the young generation who already watched it on television and in the internet multiple times. It is for those who failed to enjoy ‘Spadikam’ on the big screen. It is getting ready for re-release with 4K Dolby Atmost sound technology. Rs 2 crore was spent for this purpose,” he had said. The director also revealed that when he told Mohanlal that he will be unveiling the first look poster online, the star was sceptical about...

Death56-year-old Shaji Thilakan was the eldest of the three sons of actor Thilakan and his partner Santha.Tnm StaffShaji Thilakan, son of late veteran Malayalam film actor Thilakan, died at Chalakudy in Thrissur district. The 56-year-old Shaji Thilakan was also an actor in Malayalam TV shows. Shaji was under treatment for liver ailments at Amrita Hospital in Kochi. He was the eldest of the three sons of actor Thilakan and his partner Santha. Shaji, who was an employee of Apollo Tyres in Chalakudy, came to the field of acting only in 2014. Though he acted in a couple of Malayalam television series, Shaji could not flourish in the field, writes Ganesh Olikkara, writer of the serial Shaji first acted, in a Facebook post. According to the Facebook post, Shaji Thilakkan’s house and his farmland in Chalakudy had suffered huge damage during the Kerala floods. In 2014, Shaji first acted for...

MollywoodFazil made his debut nearly 40 years ago and has since given Malayalam cinema several memorable women characters.CrisChristmas 1980 came a month after the death of Jayan, a very popular actor in Malayalam cinema. No one was interested in a new film that had released in theatres that day – one of many debuts called Manjil Virinja Pookkal. People preferred watching posthumous Jayan movies, the hero who died doing a daredevil stunt for a movie. But a week later, word got around. The new movie was nothing like they had seen so far in Malayalam – a wild love story with two men and a woman and really beautiful music. Mohanlal, Shankar and Poornima Jayaram were seen on the screen for the first time. The film was directed by a 20-something newcomer called Fazil. Four decades have rolled by and Fazil has directed 30 more films, slowing down a little in the last two decades.

MollywoodFrom Pj Antony to Surabhi Lakshmi, here is a list of talented actors who made their way to movies from theatre.Aradhya KurupWhere did they come from? Those life-like characters, those people who made our favourite films whole merely by their presence. Give them one dialogue, one scene, one act - they make sure it holds meaning in the viewer’s mind. Where did they come from? Theatre, of course! Not in any particular order. 1. Pj Antony: The first Malayalam actor to win the National award Antony was a force to reckon with in professional theatre. He primarily worked with Kpac, known for their communist leanings in drama and established his own theatre in Kochi called Pratibha Theatres. Antony has appeared in over 60 films, besides dabbling in direction, scripting, short stories, novels, poems and lyrics. 2. Sathyan: After serving in the Indian army during World War II and later working as a police officer,...

MollywoodThe shooting of his film ‘Ittymaani: Made in China’ just got over, with the final schedule shot in China.Digital NativeHaving completed the film Ittymaani: Made in China, Mohanlal is moving on to his next project, Big Brother. The shooting of this film will go on the floors on July 11, confirmed its director Siddique. The first schedule will begin in Ernakulam and then move on to other places, we hear. Big Brother has the Bollywood actor Arbaaz Khan making his Malayalam debut. Others in the cast include Anoop Menon, Sarjano Khalid and Satna Titus. While Mohanlal, Anoop Menon and Sarjano Khalid play brothers in this flick, Arbaaz will be seen as a police officer. Mohanlal was recently in China to finish the final schedule of shooting for Ittymaani: Made in China. This film has now gone into the post-production stage. It is directed by debut filmmakers Jibi and Joju and...

MollywoodSamyuktha Menon plays the antagonist in this action entertainer, directed by Praveen Prabharam.Digital NativeA new poster of the upcoming Malayalam movie Kalki, featuring Tovino Thomas, has been released online. The actor is seen wearing a police uniform and wielding a chainsaw. It appears that the still is from an action sequence in the film. Also, the makers have released a behind the making video which makes it all the more interesting. Tovino Thomas and Samyuktha Menon play the lead pair in Kalki. Interestingly, Samyuktha also plays the antagonist in this action entertainer. The shooting of Kalki was wrapped up recently and it is currently in the post production stage. Reports are that it will hit the marquee on August 8.  Tovino, as seen in the poster, will be seen playing a police officer in this film. This is not the first time that Tovino is donning the Kakhi, He has...

Flix Flashback'Kireedam' became such a huge favourite with viewers mainly because at its heart, it is also a beautiful father-son tale.Fahir Maithutty"Ninte achanaada parayunne. Kathi thaazhe ideda.." (It’s your father who is saying this. Put the knife down) – says a helpless Achuthan Nair (Thilakan) to his son, Sethumadhavan (Mohanlal) in the closing scene of Kireedam. Sethumadhavan has just stabbed and killed the rowdy who'd ruined his life. He is still furious, pointing the knife vigorously at his father. After a few seconds, he comes to his senses, drops the knife and cries out loud to the sky. The entire movie is shaped as a build-up to this finish. An ambitious young man has now turned a murderer and a father’s dreams of seeing his son as a police inspector has been shattered. The market and crowd scene is staged perfectly. Anyone else in the place of...

MollywoodThe motion poster of ‘Joothan’ was released on Friday.Tnm StaffFacebook / Bhadran MattelThe ponies run, the girls are young The odds are there to beat You win a while and then it's done Your little winning streak The music of the legendary Leonard Cohen runs in the background of filmmaker Bhadran's new film’s motion poster. Titled Joothan, the film will mark the comeback of the director, who has stayed away from filmmaking for 14 years. Bhadran put out the motion poster on his Facebook page on Friday with the note: "35 years of my film career, you have become a burning candle where no storm can put off." The poster reveals that actors Rima Kallingal, Soubin Shahir and Joju George will be playing the lead characters. Soubin and Joju have just won their state film awards this year for best actor (male) and best character actor (make) respectively. Joothan’s...

MollywoodFrom stories of sacrifice to family conflicts, personal struggles to medical problems, here is a list of Malayalam films that are heart wrenching.Aradhya KurupSome of the greatest films of our times have been tragic. That could be said again and again, like every tautology. However, would you watch them again and again, except in moments of extreme masochism? Here’s a list of those ten Malayalam films that made me cry so much that I haven’t dared to watch them again. Each frame is etched in my mind, and I am in no hurry to refresh those tragic cinematic moments. Thaniyavarthanam: I must have been about 10 years old when I saw this and till date, except when someone sends me a YouTube link of that scene where Balan Mashu grapples with the reality of his family publicly declaring him a stranger, I have studiously kept my distance from it.

MollywoodThe director explains why he is going to work with Mohanlal after years of differences with the actor.CrisThe photo or the post need not have surprised anyone – a director and a major actor coming together to do a film. But the people in the photo – director Vinayan and actor Mohanlal – had not, at least in the public eye, been the best of friends for decades. Ever since Vinayan took a movie called Superstar with a Mohanlal look alike in the lead back in 1991, and through the years, when the director famously had feuds with the Association of Malayalam Movie Artistes (Amma), and the Federation Employees Federation of Kerala (Fefka), he has been known to be a rebel. “But those were all issue-based differences. I never had a personal vengeance against Mohanlal,” Vinayan tells Tnm. What changed now, the director says, is Mohanlal becoming the president of Amma last year.

MollywoodWhile viewers may be familiar with new age Malayalam cinema, this list is for those who want to catch up on old films but don’t know where to begin.Neelima MenonMalayalam cinema is increasingly becoming popular across the country, with multiplexes playing films with subtitles, and Ott platforms improving the accessibility of such films. While viewers might be familiar with new age Malayalam cinema, this list is for those who want to catch up on old Malayalam films but don’t know where to begin. The list below has some of the most iconic, most popular, most re-watched and celebrated cult comedy classics of Malayalam cinema. Available now on Hotstar and YouTube. Enjoy! Peruvannapurathe Visheshangal (1989): A casual observer can be forgiven for believing this to be a Sathyan Anthikad film (directed by Kamal). About a village called Peruvannapuram and its quaint, disarmingly original inhabitants. Every village stereotype is present,...

InterviewIn a short interview, filmmaker Lijo speaks about 'Ee.Ma.Yau', the film that won two awards at Iffi, Goa, and 'Jallikattu', the movie he is making now.CrisLijo Jose Pellissery's Facebook pageThis story cannot start with ‘Years ago, when he stood as one among the audience watching a filmmaker win the award for Best Film, he wondered if he would be that guy one day’. Because Lijo Jose Pellissery has not gone to attend the International Film Festival of India (Iffi) before this year. This was his first time and he was there because his film Ee. Ma. Yau. was chosen to be screened at the festival, and on the last day, it won the prestigious Silver Peacock Award for Best Director (for Lijo)and Best Actor – Male (for Chemban Vinod). “There’d always be work. I went for the festival breaking the shooting of my new film Jallikattu,...

MollywoodFrom his sartorial taste to the ease with which he slips into languages, Dulquer has succeeded in becoming Kerala's truly pan-Indian male star.Aradhya KurupOne can’t say for sure whether it was a calculated move to launch his son through a noir gangster film helmed by a new director, but the fact remains that it was easily the smartest thing the veteran superstar dad Mammootty did, especially when the son had such a formidable lineage staring back at him. It was the most avant-garde debut for the son of a superstar in Indian cinema. Since then Dulquer Salmaan has had a great 6 years in cinema. We take a quick look at his journey as he enters a new year of his life and is about to make his Bollywood debut. The beginning Look at it this way, Second Show (2012), directed by Srinath Rajendran came at a time when social media wasn’t as thriving,...

MollywoodMohanlal announced that Amma would hold meeting with members of the Wcc and that the question of Dileep coming back to Amma does not rise as the actor had opted out himself. Tnm StaffMohanlal, the newly elected President of Amma, met the media at the Press Club in Kochi on Monday. The press meet comes after Amma (Association of Malayalam Movie Artistes) was slammed for reinstating rape accused Dileep by the Women in Cinema Collective, members from the Malayalam and Kannada film industries, politicians, mediapersons and others.  The Amma executive council meeting, however, is yet to be held, contrary to media reports. Mohanlal announced that Amma would hold a meeting with members of the Wcc and that the question of Dileep coming back to Amma does not rise as the actor had opted out himself. After a brief introduction on why the press meet was called, Mohanlal, the newly elected president of Amma said that he was meeting the media now because he had gone abroad soon after the Amma meeting. "I believe that Amma the organisation needs to be changed. A bye-law that was written 25 years ago, that needs to be changed. Women have to be given more prominence in the industry," he said. To a question on whether the executive council meeting was held, Mohanlal said that only an informal meeting had taken place thus far. Responding to when the emergency executive council meeting asked for by the Wcc would be held, Mohanlal said, "Wcc has written to us. We will see when we can meet them after having an executive meeting." Mohanlal defended the decision to take back Dileep by resorting to citing the rulebook. He said, "'We had decided suddenly that Dileep had to be ousted as Fefka and Producers' Council had taken action against him. Later, this (taking him back) had to be presented at the General Body meeting. When it was presented, no one opposed. No woman, no opposing group said anything against taking Dileep back." Mohanlal said that in July 2017, when Amma decided to throw out Dileep, there were several differences in opinion between members, and that there was a possibility of the organisation splitting. He reiterated that Amma had not followed any procedure while taking action against Dileep.  However, he also said that he was with the survivor. Mohanlal then took umbrage at the fact that Dileep has said he will stay away from Amma. "Now, Dileep doesn't want to come to Amma. So what is the point of us discussing whether to take him back?" he said. Asked about the opportunities which the survivor had said she was denied due to the interference of Dileep - before the assault - about which she had complained to Amma, Mohanlal said that she had not given any written complaint about the same. He further claimed that Amma was trying to help her out and that recently she had been invited to be part of a show in Muscat but that she had opted out. Mohanlal also said that he was unaware that Amma was a patriarchal organisation and that nobody had raised such issues earlier. Mohanlal was also asked about actor Thilakan's exclusion from Amma. However, Mohanlal didn't quite pin the blame on Amma, an organisation that Thilakan had gone after openly, calling out how it was controlled tightly by a few people, including Dileep. Mohanlal called the skit put up by six women actors during the Amma Mazhavil show an example of "black humour", defending it as something which was conceptualised by the concerned women because of all the talk on patriarchy. Mohanlal also claimed that nobody had stopped women from occupying office in Amma. He said that even now, Parvathy was welcome to contest. He added that the ice should be broken. The Amma president also said that if Dileep is acquitted, Amma would welcome him back. ...

MollywoodFrom tyrants to gentle protectors, Malayalam cinema has given us some memorable father characters and the relationships they share with their sons.Sandeep NarayananFathers and sons share a contentious relationship. It is fraught with the burden of expectation, hopes and dreams of two individuals that rarely match. All the tension caused by complex relationships might not be the ideal situation to be in in real life but it definitely makes for some cinematic powder keg. Malayalam cinema has always been at the forefront of realistic depictions and there have been some memorable father and son relationships explored on the silver screen. Here is a look at a few of them. Kireedam (1989) One of my personal favourites, this has to be one of the most powerful roles Mohanlal has essayed in his checkered career. Mohanlal plays a youngster named Sethumadhavan and like any youngster he has ambitions of making it big in life. His father, Achuthan Nair (Thilakan) who is a police constable, wants him to become a police officer. Achuthan Nair dotes on his son and they share a very amiable relationship. But both their dreams and aspirations are shattered when Sethumadhavan gets involved in an unfortunate altercation with a local goon. This marks the beginning of what becomes a strained relationship between father and son. The people of the town “crown” Sethumadhavan as their saviour and the rest of the movie charts how he unwittingly descends into criminality. His once doting father, who is torn between duty and love for his son, eventually brands him as a criminal and severs all ties with his son. Heart-rending and sensitive, this movie is a lesson in the layered relationship one often shares with their loved ones. Spadikam (1995) The name Aadu Thoma might not mean anything to a non–Malyali, but to a Malayali, it will evoke images of Mohanlal in RayBan sunglasses and mouthing crowd pleasing dialogues. In the garb of a mass entertainer, director Bhadran tells the story of a son gone rogue because he couldn’t meet his father’s expectations. Chacko Master (played by the inimitable Thilakan) is a respectable school teacher who believes that “mathematics is the pulse of the universe” and when he finds out that his only son Thoma is bad at it, he declares him a failure and reprimands him in every possible manner. Thoma becomes resentful of his father and turns into a thug, filled with anger against authority of any kind. Thilakan’s portrayal of a narcissistic father whose self righteousness scars his son for life is fabulous. This movie shows that sometimes how even well intentioned fathers can unknowingly ruin their sons lives. Deshadanam (1997) Deshadanam tells the story of a carefree boy named Pachu born into a Namboothiri family, who shows a maturity beyond his age when it comes to religious texts and philosophies. A holy seer identifies this talent and wants to take him to the mutt to become the next Holy Guru ( a monk essentially). His parents are not keen on sending him to the mutt as it would mean that Pachu would have to renounce all things material and leave them behind as well. In what is arguably Vijayraghavan’s best role to date, he plays the helpless father who has the unenviable task of consoling his wife and also make his son understand as to why he has to leave them. The personal battles he has to fight with himself to let go of his son are both spellbinding and filled with anguish. Deeply emotional and heartbreaking, this film is a tearjerker. Paithrukam (1993) Father and son relationships are often a clash of ideologies and beliefs. Devadathan Chemmathiripadu (Narendra Prasad) is a Vedic scholar who has attained Somayagam. He has two sons Somadattan (Suresh Gopi) and Chithrabhanu ( Jayaram). Somadattan is a journalist and an atheist who is against all things religious and believes that superstition has no place in the modern world, whereas his brother follows the path of his father. Trouble starts brewing when Somadattan starts propagating atheism amongst the villagers and this brings Devadathan Chemmathiripadu and him at loggerheads. The rest of the film is about the relationship between the father and his sons, set to the background of atheism versus religious beliefs. It is a fabulous exploration of relationships and beliefs. How far would one go to protect what one believes in? What are the costs one is ready to pay along the way? This is a brilliant piece of work that deserves to be watched. Veendum Chila Veetukaryangal (1999) This film is not what one would call a very realistic depiction of a relationship between a father and son but I truly believe no conversation about cinema and father son stories is complete without mentioning this little gem of a story. The film revolves around Thirumuttathu Kochuthoma ( Thilakan) and his youngest son Roy (Jayaram), they share a deep and rare bond going beyond the usual archetypes and boundaries, this father- son duo are like friends but slowly Kochuthoma realises that he might be enabling his son to not be independent and responsible. What follows is a rather elaborate, though a tad unrealistic, drama that Kochuthoma plays out for his son.The film has beautiful moments and is a touching story which remains a family favourite amongst the Malayalees A few other films that deserve special mention are Piravi, which is the journey of a father looking for his missing son and is based on a true story. Balachandra Menon’s Samantharangal which is a tale of a clash between an honest father and his corrupt son and Perumthachan, written by M.T.Vasudevan Nair, which tells the story of a carpenter and his son Kannan and the problems caused by a generation gap and shift in traditions. Also read: Second teaser of Mohanlal's 'Odiyan' out...

MollywoodThe actor will be playing an aspiring director in the film.Digital NativeActor Tovino Thomas will play the lead in National Award winning filmmaker Salim Ahamed’s upcoming film titled And The Oscar Goes To… The film, which is inspired by the lives of several aspiring filmmakers, will have Tovino playing one. In an interview given to the Times of India, the actor said, “I have watched Adaminte Makan Abu while I was frequenting film festivals and his other films also in theatre. He’s someone who I have a good rapport with. When we met at Filmfare awards two years ago, we could instantly strike up a conversation and spend a long time discussing films. So, in a way, I’m excited to be part of this film.” Salim Ahamed has won the National Award twice before. Adaminte Makan Abu won him the best feature film award and Pathemari, the best feature film in Malayalam. The director has also won the Kerala State Award for best feature film and best screenplay for Adaminte Makan Abu besides a host of other awards. Reports are that the shooting of And The Oscar Goes To will commence in September in La, USA and then move to Canada for another schedule. Sources in the know say that a major portion of the film will be shot in foreign locations. While Anu Sithara has been roped in to play one of the female leads, the film will have a foreigner playing the other lead. Salim will be making an official announcement regarding the film very soon, we hear from sources. Besides this, Tovino has a number of films in different stages of production. His Oru Kuprasidha Payyan has reached the post production stage and he is currently busy with the shooting of Luca. The actor also has two Tamil movies – Ondraga and Maari 2 – lined up for release this year. Yet another project Chengezhi Nambiar is expected to go on floors later this year. (Content provided by Digital Native) Also read: Thilakan, Jagathy, Seema, Jalaja and others: The long list of Mollywood’s unsung stars...

KollywoodThe film will be a complete entertainer, promises the team.Siddarth SrinivasFacebook/ThiruThis weekend’s marquee release Mr Chandramouli brings together the real-life father and son pair of Karthik and Gautham Karthik for the first time. The film is being promoted as an "emotional" thriller, as it pays heed to all the commercial elements as well, apart from its core subject. We speak to three key members of the team on the film’s specialty and the experience on the whole. First up, we catch actor Gautham Karthik, who has just come back from his A-rated entertainers to do a genuine crowd pleaser. Asking him on what made him pick up this project, he says, “I loved the script and how our director Thiru had organised the characters and their travel throughout. Mr Chandramouli comes off as a complete entertainer with something in it for everybody. Moreover, it gave me a wonderful opportunity to share the screen with my dad. I play a boxer in the film.” Gautham cannot help but smile when he's asked about the first opportunity of shooting with his father Karthik. “During my school days, I couldn’t spend much time with my dad as opposed to what everybody thinks, as I studied in Ooty. I never had the experience of visiting his sets or watching him work. When we came to the shooting spot of this film, it was a magical feeling to observe his every move and tactic. I didn’t realise why people call him a legend, until I actually felt it all here," he says. Gautham will soon start shooting for his rural entertainer Devarattam directed by Muthaih of Komban and Marudhu fame. Manjima Mohan pairs up with him in the film. Next in line is Thiru, the director of Mr Chandramouli. After making three successive films with Vishal, ie. Theeradha Vilayaatu Pillai, Samar and Naan Sigappu Manithan, it’s certain that his brand of thrillers always have an entertainment quotient embedded in them. “After Naan Sigappu Manithan, I was in talks with actor Vikram for a project named Garuda. We even went for the recce to the Gulf, but the film didn’t take off for various reasons. I also worked on another family-based thriller with Jai and Taapsee, but unfortunately, the shoot got stalled in the middle. For close to one and a half years, myself and Gautham had been in talks to work on a film together. When Mr Chandramouli came up, we had no qualms in going ahead with the project and somehow convinced Karthik sir to be a part of it," he says. Speaking about the genre, he adds, “The film is a mix of three elements – a beautiful father-son relationship, a worrying scam related to cab services which we regularly read about in the news these days, and a third surprise factor that is under wraps for now. Just like my earlier films, I have conceived a new idea in Mr Chandramouli too. We have not revealed it before the release as it would spoil the movie-watching experience, but I am sure that the audiences will enjoy it. Post the interval, the characterisation of the hero will take a huge turn. It is definitely something new in Indian cinema, I could not even take references from anywhere.” One of the most important selling points of the film has been the beach song ‘Yedhedho Aanene’, which has come out beautifully. Thiru has something to say about that too. “Gautham and Regina worked out for close to a month and a half to get their bodies right in order to fit into the costumes well. I wanted the end result to be aesthetic, and not vulgar. If not for cinematographer Richard and choreographer Brinda master, it would have been impossible to get the output that we have in hand today.” Actor Varalaxmi Sarathkumar, who has constantly been in the news for her upcoming biggies like Sarkar and Maari-2, has a special role in Mr Chandramouli. “For me, this film is unlike anything I’ve done so far in my career. I play a bubbly but mature character, and the unit keeps saying that my role is the heart of the story. Thiru has experimented with both my looks and my onscreen behaviour,” she says. After the success of Vikram Vedha, Varu is a part of close to half-a-dozen films, with each role varying from the other. Talking about being picked in alternative shades mostly, she says, “It’s about the interest that a character creates for me. An actor should be able to do everything, and not just get typecast in heroine roles. I play a loud and furious lady in Sandakozhi-2, a journalist in Velvet Nagaram, a village girl in Kanni Raasi, and Sarkar – let it be a surprise!” Also read: Thilakan, Jagathy, Seema, Jalaja and others: The long list of Mollywood's unsung stars...

MollywoodThese stars have made handsome contributions but have remained unrecognised throughout their careers.CV AravindIn the Malayalam film industry, only the so-called upper crust of actors have always remained in the limelight. Also, the industry has always adopted different yardsticks for its male and women actors. Over the years, however, there is a long list of unsung stars who have made handsome contributions but have remained unrecognised right through their careers. Chemmeen, directed by Ramu Kariat, won the President’s Gold Medal for Best Film in 1965 at the National Awards. The film could qualify as one of the earliest multi-starrers with most industry folk landing roles in it thanks to its wide canvas. Two characters in this epic novel by Jnanpith Award winning writer Thakazhi Sivasankara Pillai were those of Chemban Kunju and his wife Chakki Marakkaiyi. Kariat chose veterans Kottarakkara Sreedharan Nair and Adoor Bhavani for the roles and they turned in superlative performances. But the portrayals by these two actors remained unheralded. Incidentally Sreedharan Nair’s son Saikumar remains one of the most popular villains in Malayalam cinema and also excels in character roles. One of Mollywood’s mainstays where story and scriptwriting is concerned has been another Jnanpith awardee Mt Vasudevan Nair, who has also directed well-known films such as Nirmalyam (1973) and Oru Chiru Punchiri (2000). In Nirmalyam, theatre artiste Pj Anthony, from whom the late Thilakan picked up his craft, was cast in the main role of a velichapad (oracle). The most riveting sequence in the film was the climax. Sword in hand, the character approaches the idol of the goddess who had failed him and his family. With great deliberation he draws the sword across his forehead and begins to bleed profusely. Gathering spittle in his mouth he spews it in a blob mingled with his blood at the deity, collapses in a heap and dies. One wonders whether a scene like this can get past the censors in today’s India. Antony won the National Award for Best Actor that year. He revealed his angst at the raw deal that he had been receiving at the hands of the industry in his acceptance speech. Another actor who could have been utilised much better was the late Premji, who enacted the role of Professor Eachera Warrier, the grief-stricken father of student Rajan, a victim of the Emergency in Piravi (1989). The directorial debut of cinematographer Shaji N Karun, it fetched Premji a National Award but the publicity remained low-key. One actor whose long career witnessed several highs and lows was undoubtedly Thilakan, who had to serve an unofficial ban after some industry bigwigs took offence at some remarks he made. There was a time when Thilakan, who began with small, insignificant roles in films, had become indispensable. And rightly so, for very few of his contemporaries could hold a candle to him where portrayals of diverse characters were concerned. Can one imagine films like Rithubhedam, Mookilla Rajyathu or Spadikam without Thilakan? Directors like Vinayan who too had to face the industry’s wrath on various occasions ensured that Thilakan remained a part of all his films. Director Ranjith, who cast Thilakan as Dulquer Salmaan’s grandfather in his film Ustad Hotel, when questioned on opting for the actor reportedly stood up to the actor’s detractors and demanded that they produce a better actor than Thilakan for the role he had in mind. Thilakan’s contemporaries including the likes of the late Narendra Prasad, no mean actor himself, had the highest regard for him. Thilakan’s departure from the scene has left a void that is yet to be filled. Among underrated actors in Malayalam cinema, the comedians deserve a notable mention. One of the most successful comedians was Jagathy Sreekumar, who was seriously injured in a car accident in 2012 and still remains out of action eight years later. Jagathy was always a delight to watch on screen and, in tandem with actors like Innocent, could bring the roof down with their antics. The laugh riot Kabooliwala, which featured the duo, still remains green in memory. Two comedians who nailed the lie that comics in Malayalam films were good only at slapstick and buffoonery were Salim Kumar and Suraj Venjaramoodu, both National Award winners. Salim won his award for Adaminte Makan Abu, a moving film about a poor man who yearns to go on the Haj against heavy odds. His role in Achanurangatha Veedu as an anguished father whose daughter is trafficked and raped was no less memorable. Suraj proved that he could deliver in serious roles with the Dr Biju directed Perariyathavar, which fetched him several awards including the National Award. Cast as a municipal sweeper, Suraj simply lived the role. In more recent times he did a wonderful job in Dileesh Pothan’s Thondimuthalum Driksakshiyum. Such roles have, however, been few and far in between and with the films failing to cut ice with the masses it is back to square one for these fine actors. Siddique (not to be mistaken for the reputed director of the same name) is another actor who has been around for over three decades but is yet to make it to the top bracket. There is hardly any kind of role that Siddique has not done; in some films he has even donned multiple disguises. Like another star who now does character roles after playing the hero for decades, Nedumudi Venu who remains an inevitable part of most films, Siddique too has never had a dearth of assignments. But where star ratings are concerned, Siddique has never been able to rise to the heights of his contemporaries like Mammootty or Mohanlal though he has been an integral part of most of their films. Script and screenplay specialist, actor, director and producer Sreenivasan is another star performer who has given the industry several hits in all capacities. Although his forte has remained the comedy genre, Sreenivasan has also played the hero with aplomb. Films like Sandesham and Mazhayethum Munpe fetched him state awards for Best Screenplay. Sreeni’s son Vineet has now established himself as a singer, actor and director as well and his other son Dhyaan too has followed in his father and brother’s footsteps. It is only in recent times that heroine oriented films have caught on in Mollywood thanks largely to the ability of actors like Manju Warrier, Rima Kallingal and Parvathi Thiruvoth to carry a film on their shoulders. Sharada, a brilliant two-time National Award winning actor, remained in the shadow of superstars like Sathyan and Prem Nazir. It was the late cinematographer-director Vincent who cast her in a woman-oriented film, Thulabharam. Sukumari, a gifted dancer and actor, cousin of the famous Travancore sisters Lalitha, Padmini and Ragini, and director Bharathan’s wife, and Kpac Lalitha, a versatile actor in her own right, are two stars who remained in the periphery right through their long careers. Seema was not director IV Sasi’s first choice for his bold, pathbreaking film Avalude Ravukal. The story of a woman who turns sex worker was pitched to many heroines but Sasi drew a blank as not only was the subject taboo but there were quite a few risqué scenes as well. The film became a blockbuster and Seema was flooded with roles. The one-time background dancer in films would later prove her mettle in the Mt Vasudevan Nair scripted Aaroodam, directed again by Sasi, whom she married. Sasi’s Aalkkoottathil Thaniye was another film in which she delivered a stunning performance. Seema later faded away and was last seen in Tamil TV serials. The petite Jalaja too was another dignified performer in the 1970s and 80s. Introduced by the late Aravindan in Thampu, Jalaja went on to work with ace directors like Lenin Rajendran in Venal and Adoor Gopalakrishnan in Elippathayam. The Malayalam film industry boasts of some of the finest acting talent in Indian cinema. But Dame Luck smiles only on a few of them. But the rest, far from being disheartened, have always laboured with sincerity and devotion to their craft. And their contribution to the industry’s growth has been nothing short of phenomenal. Also read: Her story: 12 Malayalam films where women characters have their own arc...

MollywoodSome pointed out the patriarchy and the blatant chauvinism of the association while others are planning to boycott the 'superstar' films.Tnm StaffTwo days ago, Dileep got back in Amma. Today, four women got out of Amma. The Association of Malayalam Movie Actors is not going through the best of times. Mohanlal had just taken charge as president when it was decided "unanimously" by a general body meeting to take Dileep back. He was ousted less than a year ago when he was accused of being the master brain behind the sexual assault on a woman actor in the same industry. It is the survivor who first resigned today. Her friends from the Women in Cinema Collective put out her note, and simultaneously three of them put in their papers too. Rima Kallingal, Remya Nambeeshan and Geetu Mohandas wrote powerful notes along with their resignations. Social media reacted, along with them. Advocate and Activist Harish Vasudevan Sreedevi wrote that they (Amma members) are sitting on patriarchal chairs and spitting on the face of the same people who watched and lauded their films and made them stars. “The women who had to leave the association did not do it because they weren't paid well or for their selfish interests. They left to fight for and win their rights of gender equality that the Constitution allows every woman who works in Malayalam cinema. It might sound a little emotional, but I have decided that I won’t be watching the films of those actors who are part of Amma,” said Harish in his Facebook post. He also added that he will insist his friends to do the same. Harish also went on to say that he will only watch and support the films of those actors who have voiced their dissent against this decision of Amma. “I will also investigate into the assets that these superstars and their supporters have amassed and also look into whether they are paying their taxes properly,” lashed out Harish in his post, also adding that he cannot just stand and watch this “mafia connection” growing. Journalists posted their support for the women who resigned from Amma. Senior journalist Saraswathy Nagarajan wrote: "Brave women. way to go stars, all of you. with you, always....." Senior journalist Shahina Nafeesa also congratulated Wcc members who quit. Posting a picture of herself with Wcc members, she wrote, “The battle is on, happiness is being in the company of fighters.” It is shameful of you @Mohanlal @mammukka, et al, the doyens of Malayalam film industry that you have no room for the demands of women actors. Can i conclude Malayalam movie renaissance was not because of you stars, but inspite of you, for the script writers & directors mostly. https://t.co/AjTyM49DuX — Vinod K. Jose (@vinodjose) June 27, 2018 Founder and editor of fullpicture.in, Neelima Menon in her Facebook post said, “In the movies, the survivors are arm-twisted by the powerful predators into silence. And heroes get them out of that mess. Time to take the statutory warnings in cinema seriously.” Apart from coming out in support of the decision of the Wcc members, many also said that they would be boycotting the movies of the so called “superstars”. One of them is journalist and film critic of silverscreen.in, Aswathy Gopalakrisnan, who in her Facebook post said that it might be challenging but try to “not watch the weekly releases of Ikka (Mammootty) and bi-annual releases of Ettan. (Mohanlal) It will only help your brain, and better, it will help clean up this cesspool called Malayalam cinema a little.” As soon as Amma had made the decision to take back Dileep, many had taken the organization on. Director Aashiq Abu had first posted on Sunday, asking if Amma would apologise to the late actor Thilakan, who had not been an accused in a criminal case but who was ousted for speaking his opinion. Writer Ns Madhavan tweeted: "Worst Metoo incident happened not in Hollywood, but in Kerala, when an actor allegedly paid money to a gang to get an actress raped. The case is on, but male chauvinist pigs of Malayalam actors' guild, Amma, are shouting 'me too', 'me too' in support of the accused!" A poster which shows the Wcc ejecting from an upside down Amma (with the M turning into the W) and displaying the revolutionary spirit of its members, has also been doing the rounds.

Mollywood'Spadikam', at its heart, is a tale of conflict between an authoritarian father and a son who wants to live life on his own terms.Fahir Maithutty“Ithu ente puthan Rayban glass. Ithu chavitti pottichal ninte kaalu njan vettum” (This is my new Rayban glass. If you break this, I will chop your legs!) When Aadu Thoma (Mohanlal) says this to Kuttikkadan (Spadikam George) in Spadikam, the camera is far from his face. There is neither any slow motion walk nor any thumping background score after he says this. There are no techniques that filmmakers usually use to make a line popular. Yet this, among other one-liners in the movie, went on to gain a cult status. Spadikam, which completes 23 years on March 30, defined “Mass” in a manner very few Malayalam movies had. Writer-director Bhadran did a terrific character sketch, giving his hero an interesting name-“Aadu Thoma”. Thoma drinks the blood of black goats to gain strength. He wears Rayban glasses. He also pulls his ‘mundu’ and covers his opponent’s head with it, a trademark of his fights. Bhadran had only given Mohanlal these attributes to make him sign the movie. This is how you give a character uniqueness right at its inception. Aadu Thoma is a mass action hero. But he is still not essentially larger than life. Thoma is a rogue. He doesn’t fear anything. He thrashes policemen. But to Bhadran’s credit, he still keeps Thoma grounded. Unlike other mass characters Mohanlal portrayed later, Aadu Thoma hasn’t traveled to foreign countries after he fled his home as a child. He hasn’t learnt music, other skills or achieved great things. In fact the movie doesn’t really talk about what he did the 14 years he was away. There is no attempt to portray Aadu Thoma as a completely virtuous person. He doesn’t have solutions to all problems. He even fails miserably several times. Thoma tries to woo a judge to change the schedule of his case so he can attend his sister’s betrothal, but only ends up being humiliated in the court. When he tries to take revenge on the judge by locking his gate, he is again beaten by his father, then by the police and walked through streets, hand locked to the jeep. Contrary to most Malayalam action movies, the lines delivered by Aadu Thoma (exceptionally written by Rajendra Babu) are minimal and to the point. You remember the line - “Kuttikkada, ninte case Thoma avadhikku vechirikkunu” (your case is pending with me), mainly because Thoma doesn’t go on and on in that scene. The fight sequences are instead high voltage, with Mohanlal’s renowned flexibility in stunts exploited to the hilt. If Spadikam checks all boxes perfectly for an action classic, Bhadran’s remarkable feat is to churn out a great family movie from this same screenplay. Spadikam, at its heart, is a tale of conflict between an authoritarian father who was adamant in making his son a successful mathematician like him and the son who couldn’t take it anymore, deciding to live on his own terms. You know the father-son relationship is strained right from the beginning when Thoma makes a parrot utter “Kaduva”(Tiger) and when Chacko Master (Thilakan) reads out a cure for injuries to mock his son’s life as a rowdy. Leaving viewers guessing on what made Aadu Thoma the ruffian he is and why his mother, sister and others are still by his side, the flashback is cleverly placed only after one hour in the movie. It's just 10 minutes long but you rarely see such well-made flashbacks. Not only do you learn about the cruel punishment tactics Chacko used on his son, every main character makes an apperance to connect the dots. Bhadran also plants two important details here to pave way for two immensely heart-warming scenes later. As a kid, Thoma had pierced his compass on his classmate, Balu’s hand, before he ran away. This is to give us the wonderful scene where Thoma kisses the hand of Balu’s father (N.F Varghese) and asks him- “Why did you buy him a bike that he had to die in an accident?”. The device Thoma had created as a kid to ring the school bell is kept safely by Thulasi (Urvashi) for years. It’s on hearing its sound later that Thoma finally opens up and confesses his love for Thulasi. Wearing a tough mask outside and hiding his sorrows behind the Rayban glasses, Mohanlal made Aadu Thoma iconic like only he could. The actor’s gift to handle with aplomb just about any situation is in fine display in Spadikam. When Thoma runs into the police station saying “Njan Thoma, Aadu Thoma”, Mohanlal evokes goosebumps in us. When he runs into Thulasi’s house asking her why she kept the device, the actor brings us to tears. Today we don’t approve when actors are awarded in commercial movies. In 1995, when Mohanlal won the Kerala state award for Spadikam (shared with Kalapani), we didn’t complain. Who other than Thilakan to portray the complex Chacko Master! When Chacko is alone with the parrot that calls him Kaduva or when he touches his son’s feet at the hospital or when he finally apologises to Thoma, Thilakan brings in utmost conviction in the transformation of a father who realises his mistakes. Even other characters, played by a fantastic cast, had depth in this father-son tale. Both Thulasi and Mary (Kpac Lalitha) play a part in changing the hearts of lead men. You have the calm Ravunni Master (Nedumudi Venu) to tell both Chacko and viewers how a good teacher and father should be. Also who can forget Father Ottaplakkan's (Karamana Janardhanan) “Ulakka”? Only Laila (Silk Smitha) got a raw deal. Silk Smitha, as was the norm in most of the films she starred in, exists only to titillate in Spadikam. As a sex worker, she is relegated to raunchy sequences and Aadu Thoma uses her as another way to get back to his father. We get to see this when he holds her hand tightly when they are arrested and made to walk through streets together. Today perhaps Spadikam would have been written differently. But two decades earlier, that Thoma chooses the 'good woman' Thulasi over Laila doesn't come as a surprise. A huge blockbuster at the time of its release, it goes without saying that Spadikam has influenced generations of viewers and filmmakers. Spadikam was remade in all other south Indian languages. College students still emulate Aadu Thoma’s attire of Rayban glasses, red shirt and mundu along with the “Chekuthan” lorry during festivals in Kerala campuses. The iconic mundu fight was used as a spoof in several movies. When filming George’s epic transformation scene in 2015’s Premam, Alphonse Puthran asked Nivin Pauly and gang to watch Aadu Thoma’s mass scenes. Spadikam George carried the movie title in his name forever. Spadikam ends when Thoma arrives at his home to learn that Chacko Master is dead. To fulfill one final wish, he lifts the corpse and make him wear the full sleeve shirt that he had just got stitched. Thoma walks close to Ravunni master but doesn’t speak. He turns to Thulasi, gives his chain to her and again doesn’t say anything. He then enters the police jeep to accept the punishment for killing his father’s murderer. It's a heart-breaking ending, but nevertheless sublime. We never had a sequel for Spadikam (and we are really thankful for it), perhaps because Bhadran and others knew that there was no further story to tell for Thoma in a world without Chacko Master. There are mass action entertainers. There are beautiful family dramas. And then there is Spadikam.

Mollywood The star tweeted a picture of Rayban glasses and a drawing of a twirled moustache, giving a hint about his next flick. Digital NativeVeteran actor Mohanlal is one of the busiest stars in the Malayalam film industry to date. With a number of films in his pocket, the star took to social media to post a picture of a twirled moustache and a pair of Rayban glasses, giving an indication about his next flick. :p pic.twitter.com/WtsBcBsBn4 — Mohanlal (@Mohanlal) March 23, 2018 Interestingly, the Rayban is synonymous with the character Aadu Thoma he played in Spadikam. Directed by Bhadran, the film had Mohanlal in the lead role with Urvashi playing his female lead. The others in the star cast include Thilakan, Spadikam George, K. P. A. C. Lalitha, Rajan P. Dev, Silk Smitha and Nedumudi Venu. With photo posted by Mohanlal going viral online, there are reports that he may team up with Bhadran yet again. The director made his debut with Ente Mohangal Poovaninju in 1982 and the film had Mohanlal in the star cast along with Shankar, Menaka, and Kalaranjini. He then went on to direct the two stalwarts of the Malayalam film industry Mammootty and Mohanlal in Poomukhappadiyil Ninneyum Kaathu. Other films in which Bhadran and Mohanlal had collaborated include Uncle Bun, Olympiyan Anthony Adam and Udayon. Mohanlal is currently busy with a handful of projects including Neerali, Kayamkulam Kochunni, and Odiyan. While the shooting of Neerali, directed by Ajoy Varma, has been wrapped up and is in the post production mode, the star is concentrating on Kayamkulam Kochunni in which he plays a cameo sharing screen space with Nivin Pauly. For Odiyan, directed by Va Shree Kumar Menon, Mohanlal did a lot of homework for the different get-ups in the film. The star also shed weight to fit into a particular look, it may be mentioned here. This film is slated to hit the silver screens in June this year. (Content provided by Digital Native)...

Mollywood'Perunthachan' and 'Sargam' are among Manoj K Jayan's most memorable films.CV AravindFacebook/ Manoj K JayanThe realisation that he would have to contend with the likes of Yesudas if he were to turn playback singer, prompted Manoj K Jayan, son of the celebrated classical and devotional singer Jayan of the Jaya-Vijaya duo, to opt for a career in films as an actor. Three decades and hundreds of films later, Manoj has never had to rue his decision for he remains one of the first choices for directors who need a charismatic character actor for their films. Manoj enrolled in a film institute in Kerala but discontinued the course and began to scout for offers. A blink and miss role in Ente Sonia in 1987 set the actor on course but his potential was noticed in the film Perunthachan released three years later in which the late actor Thilakan was the main protagonist. Quite early in his career, Manoj realised that he was not cut from the same cloth as Mammootty or Mohanlal and that craving for leading man roles only could cost him his career. This decision enabled him to shift seamlessly between genres and exhibit his versatility in the process. The handsome actor has since excelled in portraying a wide range of characters, some tinged with comedy, others more poignant and absorbing, but not one of them exaggerated or superficial. One of the finest characters that Manoj K Jayan has enacted on screen was undoubtedly ‘Kuttan Thamburaan’ in the Hariharan directed Sargam, released in 1992. Just five years into his film career, Manoj was signed to play the role of a wastrel prone to epileptic seizures, a mischief maker who incurred the wrath of the villagers with his outlandish living style. Vineet, a Hariharan discovery in Nakhaksthangal, was cast in the sedate role of Kuttan’s best friend who alone could rein in the boisterous vagrant. Kuttan is forced by his parents to marry a young girl as astrologers had predicted that marriage would cure him of his malady. Later, it dawns on Kuttan that he had wedded his best friend’s lover. Stung with remorse, Kuttan takes his own life. A complex role where the actor could have easily gone overboard in the emotion laden sequences was handled with a great deal of finesse under the watchful eye of the director. This film was a turning point in Manoj’s career. Scenarist John Paul, who wrote the script for the late director Bharathan’s Chamayam, had marquee star Mohanlal and veteran Thilakan in mind for the lead roles of two fishermen with an abiding passion for theatre. However when the project took off, the roles were done by Manoj and the late Murali with the former playing the role of the extrovert Anto and Murali his friend cum rival Esthappan. The film had the distinct Bharathan touch and the stars fit perfectly in their roles. The sheer ecstasy in the number Anthapurathu sung by Mg Sreekumar, where Manoj whips up a fast dance number with Murali egging him on, lit up the screen for its sheer vibrance and vitality. With Sithara, a sublime presence as the heroine, Chamayam could well rank among Manoj’s top films. Internationally renowned cinematographer-director Santosh Sivan made the film Anandhabhadram in 2005 and a surprise pick for the villain’s role was Manoj K Jayan. The role of the diabolic Digambaran, a black magic practitioner who terrorises a village was a complete antithesis of everything that Manoj had done thus far. With his larger than life image, kohl lined eyes blazing like charcoals, large fingernails and giant strides, Digambaran was modeled on characters drawn from Kerala’s finest art forms Kathakali and Theyyam. The film was a dark fantasy in which Manoj completely overshadowed the hero Prithviraj and Kalabhavan Mani, who played the role of a visually impaired samurai warrior taking on the sinister and maniacal Digambaran. For a cool and composed individual in real life like Manoj, Digambaran was a real baptism by fire and he ended up vindicating the faith of the director. It was Hariharan again who gave Manoj K Jayan another pivotal role in his period film Kerala Varma Pazhassi Raja where Mammootty was cast in the title role. A lavishly mounted film with enchanting visuals, Pazhassi Raja featured Manoj in the role of a local chieftain Thalakal Chandu. Although Mammootty hogged the limelight in the film, Hariharan had taken care to ensure that the character of Chandu did not receive short shrift and Manoj had an opportunity to steal the thunder in the scenes allotted to him. Pazhassi Raja, scripted by Jnanpith awardee M T Vasudevan Nair also had a spectacular box office run and did much to further Manoj K Jayan’s career. The versatile actor’s performance as a hijra in playback singer M G Sreekumar produced Ardhanari, a highly charged, melodramatic film however was a letdown as it was a totally over the top portrayal and though the character was meant to elicit empathy, audiences gave the film and the character a frosty reception. For the hero turned character actor it was a pleasant turn of events when director Farooq Abdul Rahman plumed him to play the lead role in the film Kaliyachan, released in 2015. The role of Kunhiraman, a Kathakali dancer and his relationship with his guru provided Manoj an opportunity to once again showcase his acting skills. Manoj K Jayan is one of the few stars of yesteryear who has managed to strike a chord with the younger set of filmmakers and they have always reposed faith in him. His roles in films like Alphonse Puthran’s Neram, Bejoy Nambiar’s Solo, and his being part of the soon to be released Prithviraj – Parvathy starrer My Story, Zacharaiah Pothan’s Jeevichirupundu and a number of films on the floors, signify that the actor continues to be in demand for strong, character roles. Manoj has worked with almost all the top names in Malayalam cinema and was also a part of two of Adoor Gopalakrishnan’s films Naalu Pennungal and Oru Pennum Rendaanum. The actor has also ventured into Tamil and Telugu films but has hardly done any significant work. In most of his Tamil films he has been typecast as a police officer and though these films including Dhool, Thirupaachi and Villu were box office hits, they did little for him career-wise. Incidentally, it was director Mani Ratnam who gave him his first break in Kollywood in the Rajinikant-Mammootty-Arvind Swami film Thalapathi. Well entrenched in the industry. the actor’s zest for films stands undiminished and though he has only won a few awards, he has endeared himself to the audience with his portrayals in varied roles and along with veterans like Nedumudi Venu, Innocent, Siddique etc. remains always in contention for vibrant supporting roles.

Cinema From Dulquer lifting the dum in ‘Ustad Hotel’ to Tovino describing the emotion that is beef roast in ‘Godha’, we bring you the most glorious food moments in recent Malayalam cinema.Sreedevi JayarajanGreat cinema is oftentimes a powerful reflection of our society. It not only inspires but also moves us in ways only that particular film can. I was all of 6-months when my parents, risking the glares and muttering of the crowd, took me for my first movie. And although I must have howled through most of those 2 and half hours, in the 23 years since, the cinema hall still remains the room that witnesses my unchecked sentiments. I can’t recall the number of times I’ve hurriedly wiped away embarrassing tears after watching a scene, laughed until I cried, cringed in horror and slid to the edge of the seat with apprehension. And sometimes, to my surprise, had my mouth watering, during a well-shot food scene, all the while scarfing down popcorn. For those of us who consider food to be an emotion, watching films with great food can be as enjoyable as eating it. Here's a list of food scenes from contemporary films that had us drooling. Beef is a ‘vikaaram’ – Godha Here, food becomes political as Tovino, reflecting the collective sentiment of an entire state, candidly describes how a beef roast is made and eaten with ‘Porotta’. “For us Malayalees, porotta and beef is not just food, it is an emotion,” he tells his friend in Godha, a 2017 movie about life and wrestling, directed by Basil Joseph. From describing how the meat is to be washed and cut into small pieces to inhaling the smell of spicy beef roast, Tovino makes his audiences salivate for some crispy porotta and beef roast right after this scene. Further, a great food scene need not always show us the dish. Godha lets us know this and therein lies the brilliance of this film. When romance blooms with a rainbow cake – Salt n Pepper Food plays the central role in this film which is about the middle-aged romance between a dubbing artist and an archaeologist. When Shweta Menon and Lal take on the 7-day task of baking a complex rainbow cake, they fall in love through the culinary journey. The scene is endearing in the way it weaves the growing intimacy between the said characters through the step-by-step building of the cake, finally establishing their love as they bite into their respective slices. As a diffident Shweta Menon confides in Lal about life, insecurities and her mother’s cooking, we understand how crucial food is to bind the growing bond between the pair. Salt n Pepper’s opening credits song is also a celebration of the culinary richness of Kerala, from the biriyani havens of Malabar to the famous Paalada Pradhaman in Thrissur. Chef Faizi and the dum biryani – Ustad Hotel As Dulquer lifts the 'dum' off his biryani and lets the flavors slip out, the audience lets out a collective sigh. The memorable scene is from the 2012 coming of age, food-drama, Ustad Hotel, starring Dulquer Salmaan, Nithya Menen and veteran actor Thilakan. The film takes us through Faizi’s journey of food, relationships, romance, and the power of giving. Cooking up a feast for the orphan children, Dulquer realises the truth of his granddad’s words – that the real success of a chef is when he fills people’s hearts with his food. Besides this, Ustad Hotel is full of many great food scenes, from fish spluttering in hot oil to Faizi mastering the art of shaping the Malabar Porotta. And don't miss the gorgeous description of sulaimani tea that Thilakan gives! When Pooja Mathew tastes wine – Ohm Shanthi Oshana Kerala celebrated this 2014 romantic-comedy starring Nivin Pauly and Nazriya Nazim. One cannot help but be charmed by the chirpy tomboy that is Pooja Mathew (Nazriya) and her childish attempts to land the guy of her dreams – Giri (Nivin Pauly) The film is refreshing in that it narrates the story from the heroine’s perspective. It also has a wonderful scene which shows Naziya eagerly tasting the wine made by her wine-maker neighbour. As Rachel aunty hands her a carefully prepared sample of red wine that she plans to sell, Nazriya’s eyes widen with excitement and she knocks back the sample in a second. Nazriya lives her character in the film, portraying with a natural flair all the typical traits of a curious teenaged girl, including the fascination for alcohol. Sare, order one more fish fry – Premam Soubin Shahir and Vinay Forrt’s canteen scenes are among the funniest moments in Premam. The film that garnered a cult following and catapulted Nivin Pauly to instant fame outside Kerala, has since been remade in Telugu with Naga Chaitanya and Shruti Haasan. The actors are shown enjoying a meal in the college canteen while Forrt discusses how to get Malar Miss (Sai Pallavi) to notice him. Both Forrt and Shahir, with their sheer talent and natural dialogue delivery, make the audience salivate for the fish fry that they're eating when discussing "real" issues. Premam boasts of a few other well-shot food scenes, specifically the sharbath scene in the road-side shop which shows the drinks being mixed (and the couscous added) in tempting detail. Another memorable scene is when Celine (Madonna Sebastian) tries the red velvet cake that George (Nivin) makes. When Fahadh Faasil wolfs down food – Thondimuthalum Driksakshiyum This 2017 film about a gold chain thief (Fahadh Fazil) and a struggling couple is so simple, yet its brilliance lies in its detailing and stark portrayal of life. Fahadh plays a thief with a character so fluid and unreadable that it remains impossible for us to predict him throughout the film. However, when he asks the policemen not to judge a young boy for wolfing down his food in a crude manner because he knows what it is to be hungry at that age, we catch a rare glimpse of his past. We understand that hunger doesn’t discriminate between people. Be it a thief skilled in his craft of gold-chain cutting or a couple who married inter-caste and invoked the wrath of their entire community, the core of human nature remains the same for one and all. The movie directed by Dileesh Pothan, who also made Maheshinte Prathikaram, was hailed as the best film of the year by many critics. All about pork – Angamaly Diaries This 2017 crime-drama explores the life of Vincent Pepe and the gang that he forms, inspired by the local football team. And although the central plot is far removed from food, the film does have some of the best-shot scenes of food in Angamaly town. The hit opening credits song “Theeyame” features a sinful plethora of dishes typical to Angamaly town. Another notable song is “Ayalathe”, where the hero compares his love to the yesteryear’s hit combo of tapioca and egg in Kunju’s thattu kada and how, he and his love interest, just like Kunju, strongly believed that it would be an evergreen hit.

Thiruvananthapuram, March 18: The master actor that he was, Thilakan refuses to bow out from the film industry even after his death -- a special mention award came his way for the stellar performance in the Malayalam film "Ustad Hotel".

The 60th National Film Awards were announced in Delhi Monday, and this film was one of the last in which Thilakan featured before passing away Sep 24, 2012.

Beginning his career through theatre in the mid-1950s, Thilakan took the Malayalam film industry by storm since his first outing in 1979 in the film "Ulkadal".

He acted in close to 300 films in most south Indian languages.

Thilakan.

Paan Singh Tomar (Hindi) directed by Tigmanshu Dhulia was declared the Best Film at the 60th National Film Awards announced today at a joint Press Conference addressed by the Chairpersons of the three juries; Basu Chatterjee for Feature Films, Aruna Raje for Non-Feature Films and Swapan Mullick for Best Writing on Cinema.

In non-feature film category, the award for the Best Film went to Shepherds of Paradise (Gojri & Urdu) produced and directed by Raja Shabir Khan. In the category of Best Writing on Cinema section, the book ‘Silent Cinema in India – A Pictorial Journey’ (English) written by B.D. Garga has bagged the top honour, whereas P.S. Radhakrishnan has been conferred the award for the Best film Critic.

Chittagong (Hindi) and 101 Chodiyangal (Malayalam) have shared the Indira Gandhi award for the Best Debut Film of a Director. The award for the Best Popular Film for providing wholesome entertainment has...

Mumbai, Sep 24: Southern actor Siddharth rues that he missed the chance of working with veteran Malayalam actor Thilakan, who died Monday morning.

Thilakan, who featured in 300 films in his acting career, was in critical condition after suffering two heart attacks. He was 74.

"Malayalam great Thilakan sir is no more. Grew up watching his brilliant understated performances. Was supposed to do 'Ustad Hotel' with.

Thiruvananthapuram, Sep 24: Veteran Malayalam actor Thilakan passed away at a hospital here early Monday. He was 74.

The actor, who died at 3 a.m., was in a critical condition after suffering two heart attacks. He was part of nearly 300 films, most of them in Malayalam.

Beginning his career in the 1950s, he became famous with his 1979 film "Ulkadal". His latest film was "Ustad Hotel".

Ians...