KOCHI: 1993 was a good year for Malayalam cinema. It saw several memorable blockbusters. However, two evergreen classics stand out: 'Manichithrathazhu' directed by Fazil, and 'Devasuram' helmed by IV Sasi.
Both were massive hits. Even today, whenever aired on television, these films hook viewers and pin them to the couch. Nagavalli and Mangalassery Neelakandan left such a lasting impact on Malayali minds. And continue to do so. As the legendary films mark their 30th anniversary, TNIE reporter Arya U R digs out some nuggets from their making
‘Thekkini was Vasan House in Chennai’
Haunting notes of veena, violin and piano by music director Jhonson set the perfect background for Manichithrathazu. Scribe Madhu Muttam’s script, which combined fantasy and myth, transformed to cinematic excellence when it reached versatile storyteller, Fazil.
The film was the result of more than three years of hard work. “We didn’t use graphics then because we didn’t have the technology. It would be an ample exploration of VFX if made today,” Fazil said in an interview with a Malayalam television channel.
“To capture the authenticity of the dual personality of Ganga, who has no connection to music and dance, we consciously created the talented Tamil danseuse Nagavalli. We wanted to logically connect the transformation. I had only Shobhana in mind for the role as we wanted an actor who was a dancer as well.”
Chempamkotte Sreedevi, Unnithan ammavan…
Unnithan, essayed by Innocent, plays a vital role in the first half of the film. Recalling the old classic, Innocent, speaking to TNIE from his home in Chalakudy, reveals that he had rejected the project multiple times because of his busy schedule.
“Fazil told me that he would not worry even if he didn’t get Mohanlal’s dates. But he would start the project only when he got mine, as he wanted me to act in the film, no matter what. That made me say ‘yes’,” he says.
“Unnithan’s role was very engaging and entertaining. Also, I remember the wise words of Nedumudi Venu, who said, ‘Roles like these are rare, and we should not miss performing them’. The combination of KPAC Lalitha and me always worked well, and it is because she was a good actor to work with.”
Innocent shares one of his most memorable scenes in the film. “Remember the one in which I tell (the character) Sreedevi, ‘Onnumilla, kuttikku onnumilla…aadikkolu…’? They were impromptu lines. When I said that, there was a burst of laughter from the crew. Fazil is a director who gives space for improvisation.”
For Vinaya Prasad, who played Sreedevi, it was a project that helped create her own space in the hearts of the Malayali viewers. After her debut in the national award-winning movie Perumthachan, Vinaya was into playing character roles. She was referred for the role by Mohanlal.
“It’s fresh in my mind even after three decades… Shobhana welcomed me to the set calling out my name. Our sisterly bond still continues,” she adds.
“I was initially a little upset that I had only a few scenes. But director Fazil assured me the end would be memorable. I realised that when I watched the film. Audiences across generations still love the film and, for an actress, it is a great honour. I love it when people ask me ‘Chempankotte Sreedevi alle?’”
Art matters
Popular art director Mani Suchithra got excited when Fazil discussed Manichithrathazhu with him. He knew he would get to experiment with something unique. From designing the attire of Nagavalli to setting the wooden plank of Nakulan’s dummy, it gave him ample scope to experiment as an art director.
The paintings of Nagavalli and ‘Karanavar’, he says, were done by his own uncle, the late artist R Madhavan. “Apart from the palaces of Trippunithura and Padmanabhapuram, the haunted Thekkini was the Vasan House in Chennai, the residence of late S S Vasan, the founder of Gemini Studios. We did deep research on every minute thing, from Nagavalli’s chilanka to Karanavar’s portrait,” says the 72-year-old artist who hails from Thiruvananthapuram.
Explaining his research on sourcing props, Mani, who is settled in Chennai, adds: “For Nagavalli’s attire, we travelled to Kalakshetra to find reference books for Bharatanatyam costumes. Later, we found one from an old book stall in Chennai. Those days, we did not even have mobile phones. Looking back, it feels great to have been part of a film such as Manichithrathazhu, which created a trend in visual storytelling… be it the costumes or locations. Even setting the dance floor in two styles was a challenge for me.”
‘Enthado Warriere, njan nannavathe?’
ho can forget Mangalasherry Neelakandan’s poignant dialogue? Devasuram was a film that catapulted Mohanlal to a cult icon status in the ‘90s. As the name suggests – Deva+Asuram – his character was about a man who writhed between good and bad elements in him. Some film buffs describe Neelakandan as one of the most charming, moving anti-heroes of Malayalam cinema.
Mangalashery Neelakandan, Bhanumathi, Warrier ammavan and the villain, Mundakkal Shekharan, were characters created by Ranjith. His screenplay was packed with powerful dialogues, and it set a trend of flamboyant, action-packed, anti-hero films.
In a TV interview some years ago, Ranjith revealed that the film had been inspired by real-life characters Mullassery Rajagopal and his wife Lakshmi, in Kozhikode. “Though the action of Mangalassery Neelakandan, with his anti-heroism and male chauvinism, is discussed more in the film, my focus point in the screenplay was the love story between Rajagopal and Lakshmi,” he explained.
“I met the couple through a mutual friend and went to their house as Rajagopal owned a rich collection of original recordings of M S Baburaj’s songs. Later I was mesmerised by the way the couple happily supported each other even though Rajagopal was bedridden…. Their love story was interesting as Lakshmi had initially denied multiple proposals from Rajagopal as he was a notorious, wealthy, spoilt brat in his young days.”
The villain, Mundakkal Shekharan,came from his imagination, Renjith added. Interestingly, it was Mohanlal who referred to actor Napoleon as ‘Shekaran’. And Mundakkal was Ranjith’s paternal family name. “Warrier was originally one of Rajagopal’s close friends, K Surendran, a former PWD engineer. Rajagopal had influenced me with his life lessons,” said Ranjith in the interview.
Speaking on the soul-stirring ‘Vandhe Mukunda Hare’ track, Ranjith recalled Girish Puthenchery penning the moving lines, and M G Radhakrishnan composing and rendering it in Ashtapathi style.
‘Soorya Kireedam’
Speaking to TNIE, music researcher Ravi Menon says songs “played a big role” in Devasuram becoming a cult classic. They carried heavy payloads of emotions, poignancy. He adds that master lyricist Puthenchery had a personal love affair with the songs of the film, especially Soorya Kireedam. “During my interaction with him when asked to choose one favourite song, it was Soorya Kireedam,” he recalls. “The song carried a part of himself, left him teary-eyed.”
Ravi adds Soorya Kireedam was “the quickest lyrics’’ Puthanchery wrote. But he struggled with the starting lines. It was the only time Puthenchery had to meditate on the apt opening wordings. “He was elated when he finally got the words ‘Soorya Kireedam’. He completed the remaining lyrics in minutes,” he says.
The song was a turning point in MG Sreekumar’s career, too. “I remember IV Sasi saying that Sreekumar had embraced the song’s soul while rendering it, and that it wouldn’t have been perfect if someone else had sung it,” says Ravi.
Grand setting
Working with I V Sasi was a big challenge as he had been a former art director himself, says Devasuram’s art director, Mani Suchithra. “Sasi fixes on visuals in his mind before filming a scene. During lunch breaks at 2.30pm, he would ask me to take him to the art set to check the updates for the next scene. He would forget about his lunch,” he adds.
The location hunt for the film was a unique experience, recalls Mani. “We were on the lookout for a traditional mansion for Neelakandan. After scanning central and north, we reached Palakkad,” he says.
“While having tea from a local shop, we chatted up with a local resident named Velappan, and he directed us towards the old Varikkassery Mana. The courtyard was vegetated.
We cleaned the premises and built a padippura, too, as the house did not have a proper entrance pathway. It’s heartening to note that the mana evolved into a sought-after location for many films and tourism.”
‘Brilliance of script’
Popular film critic A Chandrasekhar says the backbone of Manichithrathazhu is its strong script. “The brilliance of the script is still a point of discussion among movie buffs,” he says. The film was shot in a non-linear narrative, emphasising minute nuances in scripting. Fazil also donned the hat of production designer in the movie and was assisted by Priyadarshan for song direction, and Sibi Malayil and Siddhique- Lal as second unit directors. The iconic Nagavalli remains as a horror legend in our minds.”
Adding on, he explains how the script drew the subject of psychology to the mainstream. “Horror genre kicked off in Malayalam films through ‘Bhargavinilyam’, penned by Vaikom Muhammad Basheer in 1964. K S Sethumadhavan’s ‘Yakshi’ in 1968 also brought a feeling of horror to the Malayali audience,” he says.
“However, they can be felt as an inspiration from the English parapsychological films. But ‘Manichithrathazhu’ gave a paradigm shift to the genre.” On ‘Devasuram’, Chandrasekhar says the machismo portrayed in the film made it a huge success. “The protagonist being a fatherless macho hero was a trend back then. Mangalassery Neelakandan is a rogue whose actions and words do not have any political correctness — a man with flaws,” he adds.
“Devasuram became a huge hit as it touches realism and surrounds a flamboyant macho-man, who faces failures and accepts to move on like Sethumadhavan in Kireedam.” Another element Chandrasekhar points out both films have women in pivotal roles. “The films also focused on the female leads — Shobhana as Ganga/Nagavalli, and Revathi as Bhanumathi.
They were as strong as the male leads.” He also applauds Mohanlal, who, as an actor, explored two different shades in both movies. “In my book, ‘Mohanlal Oru Malayaliyude Jeevitham’, I mention that he can convey emotions using his eyes and eyebrows. In ‘Devasuram’, though he has many action scenes, his mannerisms and trademark of looking outside the field added a lot of depth to the character,” says Chandrasekhar.
“Especially while completing emotional or action scenes, he gives a look on the left or right of the camera. Last but certainly not the least, he adds, “M G Radhakrishnan’s music also uplifts both movies. ‘Soorya Kireedam’ of Devasuram was a hit pathos song akin to Kaneer Poovinte in Kireedam,” says Chandrasekhar.