In Rekhachithram, Indrans’ character Chandrappan says, “Once you’re part of cinema, you’re part of history.” It’s not just a passing dialogue but a line that encapsulates the whole crux of the film. It underlines cinema’s significance as a historical document, capturing social, political, and cultural moments of its times.
With his second film, director Jofin T Chacko explored this profound premise by marrying it with elements of a crime investigation thriller. The result? A captivating murder mystery and a heartfelt ode to cinema. “80s Malayalam cinema,” corrects Jofin, adding, “Rekhachithram is our tribute to the golden age of Malayalam cinema.”
Every film has an origin point and for Rekhachithram, it happened during the interval break of Aravindante Athidhikal (2018). Jofin and his friend Ramu Sunil were watching the film in the theatre when the latter casually told him about a ‘what if’ situation that could have happened on the film’s sets. Jofin, who still hadn’t debuted as a filmmaker, sensed immense potential in the idea.
It was an intriguing thought and we discussed it extensively after the show. I remember locking the title ‘Rekhachithram’ on that day. We also picked the film which should act as the backdrop for our story.” It was Bharathan’s Kathodu Kathoram (1985), starring Mammootty and Saritha. It could have been any other film—probably a much more popular and celebrated one.
But Jofin has his reasons. “It was Mammookka’s presence and the iconic song ‘Devadoothar Paadi’ that attracted us. As a child, I had seen the film a couple of times, but I’m not sure if I enjoyed it at that age. Later, as part of preps for Rekhachithram, I revisited it often and started appreciating it better.”
Rekhachithram follows a police investigation revolving around a young aspiring actor who mysteriously disappeared around 40 years back on the sets of Kathodu Kathoram. Jofin admits it was not an easy film to execute, for it involved getting tons of permissions. “The narrative warranted the presence of many real artists, including some who passed away.
I personally met their families for narration and to convince everyone of our honest intentions.” But beyond his efforts, Jofin says it’s the backing from Mammootty, and producers Anto Joseph and Venu Kunnappilly that helped clear all the decks smoothly. “Anto chettan was among the first to whom I pitched the idea. Through him, we took it to Mammookka, who, as we all know, is always welcoming of novel attempts. The project took off once he gave his nod.”
Mammootty’s backing was not just limited to helping with the consents. One of his suggestions helped Jofin and his writers, Ramu and John Manthrickal, crack a crucial plot point, which eventually became one of the film’s major high moments. Jofin recalls, “During our first discussion in 2021, he told us about a girl who wrote fan mails addressing him as ‘Mammootty chettan’ and how Sreenivasan sir incorporated it in the screenplay of Mutharamkunnu PO (1985). It was a thread which we later fleshed out and included in our script as well.”
With Mammootty’s presence being imperative in the storyline, the makers faced a challenge on how to present him in the film. Jofin, a fanboy who debuted by directing his idol in The Priest (2021), had multiple plans laid out. “I primarily wanted to ensure Mammookka’s presence was not a gimmick but had a purpose. We initially thought of employing a few tried-and-tested techniques, but over the years, new technologies developed and that’s how we decided to seek the assistance of AI.”
Mammootty is perhaps among the first mainstream stars in Indian cinema—or even internationally—to approve using his AI-generated replica. It’s a revolutionary call, considering that film industries across the world are still debating about cloning actors. But Jofin says it didn’t take a lot of convincing. “Mammookka is always open to fresh experiments. He’s also far more technically advanced than us and knew exactly what he signed up for. He was genuinely interested in the film and constantly enquired about its progress.”
While new-age Malayalam films are usually lauded for their craft, unconventional themes, and performances, Rekhachithram grabs instant attention with its unique storyline. A rare attempt in exploring alternate history, the narrative shifts seamlessly between two timelines, blending elements of police investigation with nostalgic references to 80s Malayalam cinema.
Writers Ramu Sunil and John Manthrickal worked on multiple drafts to bring everything together to form a cohesive narrative, says Jofin. “Over the years, we kept fine-tuning the script. The protagonist’s characterisation and his family background were reworked multiple times to avoid similarities with other films that came out during this period.” The lead character Vivek, played by Asif, is introduced as a cop on suspension.
But unlike the norm, the officer is not suspended for being too sincere or outspoken; he is punished for his gambling addiction. It’s an interesting choice to present a flawed hero, but Jofin feels there have been some unfair criticisms. “Many accused us of promoting online rummy, but it’s actually based on a real incident where a cop hit the jackpot. In fact, he won more money than what we show in the film,” laughs the director.
Rekhachithram’s soul lies with Rekha, the mysterious missing girl, played by Anaswara Rajan. As a youngster smitten by the magical allure of cinema, Anaswara’s passionate performance was integral to the film’s emotional resonance. But interestingly, she was not the first choice for the role. “We had initially planned to cast a newcomer, but after watching Neru (2023), we knew Anaswara would be the right person,” says Jofin.
In the film, Rekha’s love for cinema and her ‘Mammootty chettan’ is so well established that it raised questions about whether a flashback was needed. On that criticism, Jofin clarifies, “There were quite a few discussions about it, but ultimately, it was my call. It was important to show where Rekha comes from, for the tail-end to be effective. I felt that’s where the film grows beyond a generic thriller.”
Jofin also heaps praise on Zarin Shihab, the film’s real surprise package. “Pushpam is a crucial role and we wanted someone extremely efficient to pull it off. Zarin’s performance in Aattam (2024) instilled confidence in us.” For her older portions, the makers cast yesteryear actor Saleema, known for her roles in Nakhakshathangal (1986) and Aranyakam (1988). “There’s an uncanny facial similarity between them,” quips Jofin.
As per official figures from the Kerala Film Producers Association, Rekhachithram is the only clean box-office hit from Malayalam among 28 releases in January 2025. But more than the numbers, it’s the words of appreciation that Jofin holds dear. “I was overwhelmed with praise, both from veterans and artists from the current generation. Among them, Dulquer’s words touched me the most. It’s special when Mammookka’s family liked how we recreated him.”
What further exceeded Jofin’s expectations was the response from outside Kerala. Since Rekhachithram is a film rooted in Malayalam cinema nostalgia, he wasn’t sure if it would strike a chord with non-Malayalis. “I was a bit apprehensive, but much to my surprise, many leading banners from Tamil, Telugu, and Hindi approached me with remake offers. A prominent Tamil actor also extended the offer.
When I expressed concerns about the challenges involved, they suggested names of old films that can act as a potential backdrop, while also assuring me to take care of the permissions part. So remakes are on the cards, but I won’t be doing it. It’s a very personal film and I wouldn’t want to meddle with it anymore.”
Jofin, in his own words, is now in the process of letting go of a seven-year-long “deeply personal” journey. “Rekhachithram has been an incredible experience—from its ideation to execution—but my journey with it ends here. I’m now simultaneously discussing three new subjects with Ramu (Sunil), Bobby-Sanjay, and Akhil Paul. Let’s see what lies ahead.”