Two decades and over a hundred films on, Saiju Kurup has built a steady presence in Malayalam cinema — not by chasing stardom, but by consistently turning in performances that resonate.
Even if it took some time in between to find his rhythm after his notable debut, he gradually built a space for himself, taking on roles as they came and sticking around. From the lecherous Shibu Vellayani in Trivandrum Lodge and the blustering-but-timid Arakkal Abu in Aadu, to the warm-hearted Pappan in 1983 and the sly Johny Peringodan in Driving Licence, Saiju has brought a believable ease to a wide range of characters.
With his latest film as a lead actor, Abhilasham — a romantic feel-good drama — now playing in theatres, Saiju sits down for a candid conversation.
In this freewheeling chat with TNIE, the actor talks about his unexpected entry into films, navigating different phases of the industry, the evolution of his craft, why he’s unfazed by online trolls or tags like ‘Loan Star’, and more. Excerpts
This marks your 20th year in the industry, with over a 100 films to your credit. Could you share how this journey started?
When we were kids, our main sources of entertainment were cricket and cinema. I loved watching films and was a big fan of Mithun Chakraborty and Govinda. Mithun Chakraborty was a hero like no other. I admired him. During the school pledge, when we said ‘All Indians are my brothers and sisters’, I felt proud thinking Mithun, Govinda and Mohanlal were my brothers!
But I never imagined becoming an actor. My family didn’t know anyone in the film industry, and I had never acted or performed on stage. However, a family friend, Girly aunty, once told my mother that if I got a job in Ernakulam after my father retired, someone might cast me in a film. My mother was puzzled, wondering whether it was about my looks or some hidden talent. I didn’t take it seriously, but the remark made me happy.
Years later, what she said came true. My father retired and moved to Cherthala. I returned from Nagpur and joined Airtel in Thiruvananthapuram. One day, while giving a connection to M G Sreekumar sir, he asked if I was interested in acting. I said yes. That was the beginning. Now it’s been 20 years. I never judge a film as a hit or flop. Every film is a learning experience.
Were you always confident about your looks?
Yes, that was my only real confidence. I have always been soft-spoken, even with people who have abused me. Some joke about how diplomatic I am. I prefer staying away from anyone who hurts me. Even if someone scratches my car, I let it go. Why waste energy? I don’t make enemies easily. That’s also a kind of confidence.
Before moving to Kerala, you did schooling and college in Nagpur. During that time, were you involved in any artistic activities?
I took part in just one cultural event. It was in Kamptee, near Nagpur, where my father was posted. A few of us schoolboys danced to ‘Cheppu kilukkana changathi’. The makeup was over the top, with lipstick and blush on everyone, even for us boys. That was my first and last stage performance.
You debuted in Mayookham, directed by the legendary T Hariharan. How did that opportunity come about?
I met M G Sreekumar sir during a sales call, the day after he recorded Bhagavathi Kaavil for Mayookham. Hariharan sir had apparently described the role to him. The character had to be 6ft tall, about 20 to 25 years old, with big eyes. It wasn’t a typical hero role. In the first half, he was a bit of an anti-hero, and in the second half, he turns positive. They were looking for a newcomer who could manage both.
When I went to Chennai for the audition, I had no idea what to expect. It was my first audition, and the queue was full of good-looking people, many with thick moustaches like mine. I even saw people resembling Kunchacko Boban there. I was certain they won’t pick me.
I was hoping they would take my audition quickly. I had to get back to work the next day. I was more concerned about work. I was thinking if I get selected and become a known face, it would indirectly boost my sales. I was always a loyal employee in that sense. In fact, I have ensured all in my family use the SIM connections to date (laughs).
The auditions went well. Since my character in the film is a smoker, Hariharan sir wanted to check if I knew how to smoke cigarettes. When he asked me about smoking, I thought he wanted a cigarette and handed over one from my pocket. Everyone around was baffled, except me.
How was your first day on set? Were you intimidated?
I had only watched Sargam at that time. I knew Hariharan sir was a respected director. But at the time, I just saw him as someone my father’s age and treated him with respect, not fear. I didn’t plan to take cinema seriously then. I had initially even assumed that the name in Sargam referred to the singer Hariharan, whom I knew from Maharashtra. There was no Google in 2004 to check. Only later did I realise how fortunate I was. Once I chose acting as a career, the seriousness hit me. Now, I get nervous before the first shot.
You did a lead role, even though you had never performed before. How did you find the confidence?
I think it was God who gave me the confidence. Honestly, I never overthought it. I have never panicked in front of the camera. Since I wasn’t chasing cinema, there was no pressure. My early roles were mostly jovial and loud, which suited me. I am not a one-take artist. I forget lines sometimes.
In Driving Licence, there is a scene where I tell Prithviraj, ‘Johny Peringodan, Johny Peringodan ennokke mediayil niranju nilkkatte.’ After that, I glance at Nandu chettan with a smirk. People noticed that.
But what actually happened was that my lips had gone dry during the take. When my lips get dry, my smile becomes stiff. That unplanned expression worked perfectly. Sometimes magic happens during a take.
Stage is different. I get very nervous. I have always avoided live shows. Earlier, during film promotions, I had to go live on news channels. That always made me tense.
Do you do preps or homework for your roles?
I have done it only once. It was for the oncologist’s role in Njandukalude Naatil Oridavela. I met a doctor in person to observe how he dealt with patients. But he didn’t allow that citing privacy concerns of the patients. But we spoke for a while and I noticed his body language, which was more relaxed, unlike the doctors we usually see in films. Other than that, I haven’t done homework for any role. It includes Arakkal Abu, which contrary to what people think, is an extremely tough role.
When I requested Midhun (Manuel Thomas) for a role in his film, he said, ‘Chetta, we all thought you were gone, but you’ve done well to stage a comeback.’ Upon hearing this, I wanted to impress Midhun further and asked him if I should do some homework. But he asked me to just grow my beard and go. When I finally got into Abu’s look and costume, things just fell into place.
When did you start taking acting seriously as a craft?
Around the time of Mulla, Doubles, and Karma Yogi, I learnt to bring what I observed into my performances. That’s when I found my rhythm.
One major hurdle was not knowing what to do with my hands. My wife would say, ‘Your dialogues and hand movements don’t match.’ I thought I was doing fine just because I could say my lines in one take, but I hadn’t grasped their emotional depth.
Trivandrum Lodge was the turning point. Until then, I played clean-shaven, shirt-tucked-in characters. But Shibu Vellayini was raw and real, and people connected with him.
Did Trivandrum Lodge give you the confidence to explore humour?
I may not be someone who can generate comedy entirely on my own. It depends a lot on good writing. If the dialogues are sharp and the film is well-made, I can deliver it effectively. Vedivazhipadu is a great example. Shambhu Purushothaman’s writing was brilliant. He’s a bit of a loser, and that makes him relatable. Most of us have lost more than we have won, which is why characters like Shaji Pappan and Arakkal Abu from Aadu really strike a chord with audiences.
Before Trivandrum Lodge, did you ever feel like leaving this profession and going back to your previous job?
Many times. But I did not want to go back to my previous profession. It is a very scary and stressful job. You know the stress of sales, right? It’s all about numbers.
Recently, you took on the role of a producer with Bharatanatyam. What made you take the plunge?
It was a long-time dream. I had already done two films with Thomas Thiruvalla and had great respect for him as a person and producer. I asked if I could come on board as a partner, and he gladly agreed. That’s how ‘Bharatanatyam’ happened. Thomas chettan shielded me from a lot of the behind-the-scenes issues.
When the film was released in theatres, I was quite depressed for three days. Reviews and feedback were good, but the ticket sales were disappointing. However, once it started streaming on OTT, it exploded. Within 10 days, it hit 50 million views, and crossed 100 million in a month. It was a record then, probably still is.
You have done a wide spectrum of characters. What role do you enjoy doing?
If you had asked me this a few years ago, I would have listed several dream roles. But now, I don’t hold on to such wishes. Whatever role comes my way, I try to do it well. Arakkal Abu, Pappan (1983)… these roles just happened. I do have some criteria, though. If a role feels too similar to something I have done before, I avoid it. I take lead roles only in small-budget films. I know my limits.
Early in your career, you played rough-edged characters, but over time, you’ve taken on more endearing roles. One standout, as mentioned, was Pappan in 1983’ — a warm, brotherly presence. What was it like stepping into that space, under Abrid Shine’s direction?
I met Abrid at a function, and I asked if he could include me in the film. He said yes. There were many characters, and when I asked which one was for me, he replied, “Which one do you like?” I picked Pappan.
When you see trolls calling you ‘EMI Star’ or ‘Loan Star’, do you feel like you are being typecast?
I don’t think so. Someone posted that on Facebook, and it didn’t get many likes or comments. I took a screenshot and shared it myself, and that’s what got people talking. It got over 10,000 likes, more than any of my earlier posts. Even the picture I posted with Dulquer (Salmaan) didn’t get that many. People love memes, and I appreciate whoever made it. They must have seen a lot of my films. I am not afraid of being typecast. I have done a variety of roles. Even within feel-good films like Bharatanatyam, Abhilasham, and the upcoming film Written and Directed by God, each one is very different.
In Upacharapoorvam Gunda Jayan, you played a character much older than your actual age, serving as a serious, patriarchal figure amid all the surrounding humour. Was it challenging to strike that contrast and maintain the gravitas of the role?
Gunda Jayan is stubborn, serious, and rarely smiles. Initially, when director Arun (Vaiga) approached me, I told him the subject was good but suggested he find someone else for the lead. I was open to a supporting role. But when writer Rajesh Varma narrated the full script, I couldn’t say no. Arun probably knew I would change my mind. We shot the film in my hometown, Cherthala, which made it extra special.
Dulquer Salmaan came on board as its producer...
He did so because I asked him to support the project. He didn’t even watch the film before saying yes. Later, when I thanked him, he turned around and thanked me instead. He said, “You believed in a good film and brought it to us.” I was genuinely surprised. Most people don’t respond that way, but Dulquer is a truly humble and sincere person.
Any plans for a sequel to Gunda Jayan?
There are two or three sequel plans in line, though I am not sure which one will take off first. One is a follow-up to Upacharapoorvam Gunda Jayan, another is a sequel to Antakshari, and we are also developing a sequel to Bharatanatyam. The script for Bharatanatyam 2 is almost ready, and we are likely to shoot it this year.
How do you look at lead roles at this stage in your career?
I am still scared. With character roles, there are more chances. But now people assume I only do lead roles, so other offers have gone down. And with leads, one can’t do back-to-back films. There are gaps, and the responsibility is huge. Promotions run from 9am to 8pm, with barely 10 minutes in between, plus college visits, functions, and crowds. I find these overwhelming. Once the film releases, theatre visits begin.
With supporting roles, promotions are lighter, and you can experiment more. You’re not typecast as someone who only does feel-good films. That kind of labelling happens more with leads. I am not chasing stardom. This is my bread and butter. I just want to work and be part of good films.
Are you also concerned whether you can attract a crowd or not?
Definitely. That’s a major concern, and it’s always there in the back of the mind. The magic of a lead role is something different. People spend money and time to watch the protagonist, be it male or female. For that, you need to have that connection with the audience. I don’t think I have reached that level of connection. The benefit of a supporting role is that the people who come to see the hero and heroine might notice you. You just have to do the job well. Isn’t that a better position?
With Aadu 3 releasing this year, how has the experience been playing Arakkal Abu across the first two films? What can we expect from the third part?
Arakkal Abu was tricky to play in the first part. Second was even tougher. There was no detailed briefing. Midhun just told me the character has two sides – one before the cheating and one after. Even how Abu sits in a vehicle differs. Everyone around him thinks he’s a terror, but that image quickly fades.
By the second film, the audience knows who he really is, though Abu still pretends to be that angry, fearsome guy in front of new people. The challenge was how to show that again in a fresh way in the sequel. Mithun said, “Chetta, treat it like a new film. Do what the scene needs.” Aadu 3 is full-on comedy, but there is a small genre shift, which we’ll keep under wraps for now. Abu has taken up horse riding, too. So I will need to prep for that.
Abu is arguably your most popular character. Did that create any pressure going into the second part?
Actually, I suggested doing the second part. I think they all forgot about it. I saw a comment on Facebook saying a second part would be great, and that got me thinking. Back then, sequels weren’t very common. I realised that this kind of character could fit into any storyline. So I called Midhun and said, “Why don’t we try a second part?” He liked the idea, and when I spoke to Vijay Babu, he also felt it could work. That’s how it all started.
One common criticism of the first part was that the climax didn’t show Shaji Pappan fighting Dude. But in the second part, they corrected that. We finally see the fight.
There was also a funny sequence involving Aju running off with Srinda. We shot that scene early on, but it was edited out before the release of the first film due to the length. I told Midhun not to drop it because it had great comedy and mass appeal. He promised to use it in the second part and he reshot it again. So yes, reminder, I was the one who suggested a sequel (laughs).
You earlier mentioned a set criteria while choosing roles. Could you elaborate on that?
Generally, when a story or character starts, you have a set of parameters — like, you should or shouldn’t do it. I said I’m not ready to do repetition-type characters or the same genre over and over. For instance, most stories I get are crime investigation thrillers. Only my rank changes — SHO, DYSP, SP — the rest is the same. So I tell them — there’s no point in doing it continuously.
Are there any roles you avoid entirely?
Paedophile or rapist roles. I don’t like seeing myself in those characters. People know they are just movies, but still — my kids are in school and college. They might face issues. So I am careful about that.
Do you believe cinema can influence people or change their mindset?
No. Everyone knows it’s just a film. You can take good things — you don’t have to, but if you want to be inspired by cinema, take the good. Why go into negativity?
Do you think people get inspired by negative roles?
I don’t think the majority does. As I said initially, I was a big fan of Mithun Chakraborty and Govinda. Then I became a big fan of Shah Rukh Khan — his anti-hero characters in Darr and Baazigar. But we never got inspired negatively. After watching my character’s fate in Malikappuram, someone messaged me saying he was contemplating suicide but changed his mind after watching the film. Isn’t that a positive thing?
Even with Abhilasham, I received messages saying it inspired them. Not all people take everything positively — but many do. You watch 1983, a film about sports, and feel motivated to practise harder. That’s reality.
Coming to your latest film Abhilasham, it’s a full-fledged romantic character you’re playing. And you haven’t done many romantic roles…
I didn’t face any problem there. I think comedy is the most challenging thing actually. Here, you have to get the correct meter, otherwise it fails. Romance is challenging in its own way, but not as much as comedy.
You also co-scripted a film, My Fan Ramu. How was that experience?
At one time, I was not getting any films. So I decided to write one (laughs). It was my first attempt, and we were an amateur team. I think writing actually helped my acting, as in I could understand the motivation and moods of the character later. I think all good writers can be good actors, too, because they travel through the moods of several characters.
Criticisms are part of this industry. Do you have a habit of reading reviews of your works?
Yes, I read everything and watch videos as well. It’s all individual opinion, so there’s no need to feel low about it. I, however, take criticism seriously and try to improve. I don’t get very upset by bad reviews, but feel happy when I hear good things (smiles). I try to respond to messages or comments about my work, whether positive or negative. At the very least, I acknowledge them with a heart emoji.
Team TNIE: Vignesh Madhu, Mahima Anna Jacob, Vivek Santhosh, Manisha V C S
(photos) A Sanesh
(video) Pranav V P