
Prasanth Alexander, a familiar face in the background of Malayalam films since the early 2010s, truly began to sparkle post-2015. His big break came with a hilarious cameo in Action Hero Biju (2016), in which he played a crooked local politician.
Films like Operation Java added to his growing reputation, but it was as the quirky cop Sebastian (aka Super Sebastian) in Purusha Pretham that he truly stole the show, leaping from supporting roles to lead actor with flair. It’s a well-deserved recognition for an actor who has earnestly worked in the industry for over two decades. In this freewheeling chat, Prasanth talks about his journey.
Excerpts:
Coming from a traditional upbringing as the son of a priest, how did you navigate your initial steps into the world of art and media?
It was indeed uncommon during those times for someone like me, the son of a priest, to venture into acting, as even watching films was often considered sinful. Fortunately, my father was not very conventional. Since he regretted not doing post-graduation, he encouraged my sisters and me to pursue our dreams. My interest in performing arts began with mono-acts and mimicry in Class 4, where I often won prizes.
After graduation, I initially considered pursuing an MBA, but my father urged me to follow my talents in arts, leading me to study media and communication. While in college, I got an opportunity to anchor a TV programme, which became popular and marked my entry into the media industry. Later, I transitioned to cinema by doing a few small roles. I wanted to do character roles, and Lal Jose gave me that opportunity with Achanurangatha Veedu (2006).
So, in a way, your father guided your art journey…
It all began with my knack for imitating relatives. As a priest, his frequent travels meant relatives often visited in his absence, and I would recount their visits with mimicry. Recognising this talent, my father encouraged me to explore mimicry, introducing me to video cassettes of artists such as (Kalabhavan) Abi ikka.
How did you navigate your journey from being a TV anchor to films?
Transitioning from television to films was relatively smooth at the time, as TV was an emerging medium with only two satellite entertainment channels active in Malayalam. Successful TV anchors quickly gained a strong fanbase, making them appealing to filmmakers. For instance, Jayasurya transitioned from a cable TV show to a lead role in Oomappenninu Uriyadappayyan (2002).
That inspired others in the industry. Although I didn’t land lead roles, likely due to my appearance, I secured supporting parts. My established TV persona, however, became a hurdle, as the audience found it tough to accept me in non-TV roles. Realising this, I stopped television work in 2005, except for an eight-month stint in 2008. Making it in cinema proved difficult, with no steady opportunities. It wasn’t until Action Hero Biju (2015) — after a decade of struggle — that I found my footing in the industry.
Do you believe it was your inhibitions or ego that held you back from actively seeking opportunities in the film industry?
I struggled initially because I didn’t know how to look for opportunities. I assumed it was too late to ask for roles once a project was announced, but I later realised films often have openings until they wrap up. It’s about taking a chance, much like attending a job interview without guaranteed success. Building a cinematic image takes time, and asking for roles is part of the journey. Unfortunately, no one shared such insights then, as the focus was always on success stories, not the struggles behind them. Today, people are more open. Tales of struggle motivate and guide newcomers.
When you were not getting enough films, did your father regret nudging you to pursue a career in cinema?
Yes, he did. In 2010, he was diagnosed with cancer, and since I was jobless I spent a year with him during treatment. To reassure him, I began writing and watching several films daily, though he knew it wasn’t my true path. On the day he passed away, he told me he wasn’t worried about my future, certain I would find my way.
During the bleak phase, did you focus on honing your craft?
I am quite lazy by nature. Even as an anchor, I rarely prepared in advance, as preparation often led to mistakes. Instead, I relied on my presence of mind and spontaneity. Over the years, acting in various roles helped me improve naturally. I have never attended acting workshops or practised in front of a mirror — those methods didn’t work for me.
For Purusha Pretham, my debut as a lead, I initially planned to try a different approach. Krishand wanted to create a detailed backstory for Sebastian, but it didn’t materialise due to time constraints. So, I approached the role as I usually do — sincerely, drawing from my subconscious and years of experience. I always keep on asking directors about a character’s mindset and behaviour. With Krishand, delivering lines as he envisioned often created a unique effect. I learnt a lot from the process.
Was your approach to portraying Pottakuzhy Jose in Action Hero Biju similar to your usual method?
That film changed the acting style of the time. Since Jose was a youth wing member of the ruling party, I initially conceived him as a snobbish politician, like the ones we are used to seeing in our films. But while performing, (Abrid) Shine kept telling me to tone down. After five or six takes, I felt truly subdued (laughs). When I finally delivered the lines, I felt disappointed, like I hadn’t performed at all. However, during dubbing, seeing myself on screen was an electrifying revelation. I couldn’t believe it was me — it was a transformative moment. That’s when I learned to act realistically. Each film has its own tone, and the best way to align with it is to trust the director.
Did the nature of the roles you were offered see a shift after that performance?
After Action Hero Biju, I gained new confidence. I realised I had to actively seek out roles. Previously, introducing myself was difficult, but after that film, I could simply mention that role, and people would recognise me. That opened up new opportunities, including Operation Java. The pandemic brought a shift in the industry. Since then, I have been receiving roles consistently. I am not hesitant to take on smaller roles, and that approach has worked well for me. Also, many senior actors reduced their workload due to health reasons, which likely contributed to the shortage of actors my age. This is how I landed the role in Purusha Pretham.
Could you walk us through the evolution of Purusha Pretham? Were there any initial hesitation about taking up the lead role?
What inhibition would be there for someone craving such a role (laughs)? Krishand first shared the story with me in 2018, but we had to wait until 2023 for it to materialise. Back then, I guess, I was the only known actor Krishand personally knew. Initially, I suggested casting a more established star, but he insisted on someone like me. He felt casting a ‘hero’ would make the film predictable and lack freshness. That’s when I thought, “Why not me?”
You have often been associated with wily characters. Is it a reflection of your personal traits?
(Laughs) In that case, looking back at Thoovanathumbikal, Babu Namboothiri must have been a good pimp! Hey guys, I am just joking. Perhaps my appearance gives off the impression of a crooked or wily person. Back in 2005, Lal Jose sir told me I had the face of a wily guy. To counter that impression, I have started maintaining a beard now (laughs). It’s challenging for me to portray genuine characters due to my established screen image. I did a film named Chembarathipoo (2017), just to portray a good character without any crookedness. Even in Pani (2024), I played a good guy. Given that I often get cast as a wily character, I was confused about how to convincingly play a good person. I think people from Central Travancore tend to be more sarcastic than others, often using tongue-in-cheek remarks.
Recently, I went to a hospital with my wife, and the girl at the pharmacy asked me, “Don’t you have films now?” I quipped, “No, I don’t. So I came here to see if I can get any work.” She then asked cheekily, “What job are you looking for?” I replied, “If needed, I can even be a doctor.”
While I can be annoyingly sarcastic, my family and children see me as a good person, which is likely why my performance in Pani turned out well.
You worked in a Hindi film (India’s Most Wanted). How did that opportunity come about?
It came through a casting agency that was looking to cast a south Indian character. While they were reviewing Facebook profiles of various FTII passouts, they stumbled upon mine. They thought I would be a good fit and sent me a message to attend an audition.
You have spoken in detail about how structured the Bollywood industry is...
Of course. Even before we started welcoming some changes, those practices were already the norm in Bollywood. Unlike in Malayalam cinema, where we often only find out what will be shot just moments before it actually happens, everything there is properly planned and informed beforehand. That said, irrespective of the industry, shootings are always subject to last-minute changes. On a positive note, I had the opportunity to shoot in a foreign location and have my face featured in national newspapers in the north as part of the promotions.
‘Celebrating violence doesn’t equate to promoting it’
How was your experience working under Joju George’s direction in Pani? He, too, struggled his way up…
It was incredible. I have known Joju for a long time, and I admire his passion, dedication, and deep understanding of cinema. Comparing our struggles isn’t fair — Joju’s perseverance and careful planning of his career have shaped him into what he is today. Joju has a clear vision, like the crime scene in Pani he imagined unfolding in broad daylight amid the busy streets of Thrissur Round.
Despite being one of the producers and aware of the cost, he insisted on capturing the scene exactly like that. He initially asked me to shoot for 15 days, but he wanted me on the sets for 30 days. Eventually, I spent around 85 days on the sets, often shooting through the night. It was Joju’s relentless commitment to perfecting the film, regardless of others’ comfort, that ultimately made Pani a success. I really liked the film’s making, it’s gritty and real. With Pani, I believe he has achieved at least 80 per cent of his original vision. Had the film backfired, it would have had a major impact on his career, and even his life.
You spoke about attempting scripting briefly. Do you wish to pursue it?
Like I said, I started writing when I wasn’t getting films to act. But things are better now and I feel I don’t have the need to do it. Adithattu’s director Jijo Antony, who is a good friend, recently pushed me to write, saying I am now in a position to get projects materialised. But I don’t know if I have that talent in me anymore. Earlier, if I come across an interesting incident, I would visualise what would have happened before it and what might happen afterwards.
But I don’t do that today, as my focus is on getting new roles and projects. My income has increased, which means my lifestyle and needs have also changed. My aim now is to meet these increasing needs and progress as an actor by doing good films. Maybe if I lose everything and return back to zero, I will have more time to think and work on my imagination and creativity. Also, once you’re established, acting, despite its challenges, is a lot more comfortable than writing or filmmaking.
One of the highlights of your career must be the song ‘Moha Mundiri’ (in Madhura Raja), where you danced alongside Sunny Leone. Could you tell us about that experience?
Madhura Raja’s director Vysakh and writer Udayakrishna are like family to me. Vysakh wanted me to do that role as he knew it would get noticed. I was disappointed that not many spoke about the role. It was released at a time when realistic films were being celebrated blindly in film groups in social media. I wondered why nobody spoke about such an important role, although actors who did one or two scenes in realistic films were getting appreciated. I was upset that this role came at a time when film sensibilities had changed. But it was much later that I realised the popularity it got me. Even kids used to come up to ask me about the ‘Moha Mundiri’ dance. That’s the reach of commercial cinema.
You have done a few other films with Mammootty. Could you share the rapport with him?
Every time I hear stories about Mammookka from seniors, I realise that he is still the same. He is very outspoken, but if he feels his words hurt the other person, he’ll right away call and apologise. I don’t know if there’s a friendship between us, but I believe I have the freedom to message him. He is great with spotting talents and tries to include them in his films. That person might not even know about it, so I don’t know if I also got to work with him like that. I cherish such opportunities.
How special was it to be nominated alongside him for Filmfare’s Best Actor award?
It was extremely special, but I knew I wouldn’t get it. Mammookka was nominated for two films. But in the future, I can proudly say that I got nominated for an award alongside him. It’s part of history, like how I did a Hindi film. It will be there forever.
Have you ever felt like quitting cinema fearing you might never be able to make it big?
No, that feeling has never creeped in. I never thought of it even when I wasn’t getting films for long periods. But that said, I have thought of quitting films due to some other reasons. When I see my friends in foreign countries, I wonder how peaceful it would have been if I had fixed work timings. Coming home in the evening, spending time with family during weekends, getting time off to play with kids... I have yearned for that.
What is your perspective on the growing global recognition for Malayalam cinema?
It’s a truly remarkable period for us. Until now, other language films used to get released here and mint crores, but now, the tables have turned and our films are greatly in demand. The opening up of new markets will certainly inspire filmmakers to think big, which means increased employment opportunities. Additionally, smaller films can also benefit from this wider acceptance, marking a promising period for the industry with great potential for growth.
Are there any stringent measures in place on sets or in production houses in light of the Hema Committee report In Malayalam cinema now?
OTT platforms are now strict about the history of actors. They inquire if any of the actors have been involved in the issues highlighted in the report. If there are any such complaints, they would put the project on hold right away.
Regarding facilities, even before the Hema Committee Report, certain changes were already being implemented gradually. For example, during Purusha Pretham, despite being a smaller production, Krishand insisted that we set aside a budget specifically for facilities like portable toilets. In MammoottyKampany films, caravans are provided, where junior artists also have space to change their clothes.
Depending on the film’s budget, some would provide houses, while others might use enclosed tents. These basic facilities might not have been in place before, as the industry has traditionally been male-dominated, and men never had issues with the lack of such amenities. Now things have changed, people now have the courage to demand these essential facilities
Do you feel that the increasing prominence of violence as a central theme in successful films, such as Pani and Marco, is a worrying trend?
In my view, it’s not about violence, but offering something new and unexpected to the audience. Violence is often used as a tool to achieve this by presenting raw, shocking visuals that we haven’t seen before, like in Marco with scenes such as biting off an ear or pulling out a heart. These unique elements trigger an adrenaline rush for viewers. Other genres, like romance, thriller, or even action, can provide similar experiences.
Directors should aim to push boundaries and offer novel experiences that go beyond conventional patterns. For instance, breaking the usual portrayal of intimate scenes can create impactful moments, just as innovative action sequences or fresh storytelling techniques can. Ultimately, the focus should be on delivering something extraordinary to audiences. While violence may be the current trend to achieve this, it will eventually lose its novelty, and new approaches will emerge.
Does the excitement that audiences experience while witnessing violence on screen concern you?
Anything that achieves success will naturally be celebrated, whether it’s a brilliant catch in cricket or a memorable film sequence. We can’t blame anyone for celebrating elements that resonate with the audience. It doesn’t equate to promoting violence. While the violence depicted on screen today is more prominent, it doesn’t mean it wasn’t present in society before—it just wasn’t as visible. I don’t believe that violent scenes will lead to similar tendencies in real life; audiences are sensible enough to distinguish between cinema and reality.
Do you believe art does not influence people?
Art will definitely influence. However, when it comes to violence, I’m not sure that someone would act out extreme violence just because they’ve seen it in a movie. The core theme in films is usually the battle between ‘good vs evil’, so the good side should naturally have a positive influence.
Sexual violence depicted in Pani, too, became controversial...
I believe that was the director’s perspective at the time. Every director has their own way of approaching a subject, and for him, that could have been the way to portray it. Perhaps, after gaining more exposure and information, the same director might choose to depict the scene quite differently.
Any exciting projects coming up?
I don’t have any upcoming projects like Purusha Pretham, but I hope to portray characters that are equally strong or even better than those I’ve already played. Recently, I worked on Marana Mass, starring Basil Joseph, and Sarkeet, with Asif Ali. Both the films will be releasing soon. There are other projects, but these stand out. I’m also looking forward to collaborating with Krishand this year or early next year on an interesting “Krishandian” film. Jijo Antony is also planning a project, and I hope it materialises successfully.
Have you ever declined roles due to them being repetitive?
I’m not sure if I have reached a point where I can reject roles outright, but I have declined offers before. However, my rejection is usually not the sole factor; there are often other reasons that contribute to a role being eliminated. I usually don’t mind repetition in roles. I’m fine with playing police characters consecutively, as long as they bring something unique. However, I’m not interested in roles that feel limited to just two scenes or offer little substance.
If they insist, I set certain demands, and if those aren’t met, I suggest someone else take the role. This isn’t about being broad-minded, but about creating opportunities for others. I always encourage directors to give new actors a chance. For instance, Sachy chettan had offered a role in Ayyappanum Koshiyum. I regret not taking that opportunity to work with him, but I believe roles that contribute to my growth will come. I hope to do characters with internal struggles, as they allow an actor to express emotions subtly.
What are your thoughts on the trend of posting instant reviews after a film’s release?
Films are entertainment, not life-and-death matters, and they deserve to be viewed with this perspective. Many reviews are unnecessarily harsh and personal. They should instead be empathetic and constructive. Good films cannot be undone by negative reviews, and similarly, reviews cannot make a poor film successful. However, there are films with minor flaws that deserve a one-time watch. A negative review can be significantly harmful. Films, like any form of entertainment, should not be ‘killed’ by unfounded criticism.
Have you always been someone who speaks positively and is careful with words?
Aren’t we all in the process of evolving? I haven’t always been this mindful, but through experience, I have learned that change is necessary. This is my perspective, and it’s not something I have crafted for public display. In the past, seeking advice was seen as a positive approach, but now the focus seems to be more on being ‘original’, as Gen Z would say. It’s hard to declare one mindset as right or wrong. Over time, we all evolve, and my perspective might shift as well. But for now, this is who I am.