KOCHI: Popular filmmaker Siddique passed away at the age of 67 in Kochi on Tuesday. His health had deteriorated after suffering a heart attack on Sunday at Amrita Hospital, where he was undergoing treatment for non-alcoholic liver cirrhosis since July 10.
He leaves behind his wife Shajida, daughters Sumaiyya, Sara, and son Sukoon. And, of course, a lasting legacy. Of smiles, and mirth. A true darling of Malayalam cinema, Siddique Ismail entered the film industry through a mimicry troupe of the famed Cochin Kalabhavan, where he teamed up with director-turned-actor Lal.
The duo began their film career as assistant directors with filmmaker Fazil, who had spotted them during a Kalabhavan show. Subsequently, they got a break as scriptwriters in 1986 with director Sathyan Anthikkad’s Pappan Priyappetta Pappan, starring Mohanlal.
An oft-heard grouse about contemporary Malayalam cinema is the absence of genuine humour. People lament the dearth of substantial comedy — something that could help them momentarily escape the miseries of their lives.
This was not the case in the 80s and 90s, when comedy-driven films held sway. There existed various forms of comedy: situational, slapstick, parody, tragicomedy, and the soft-spoken Siddique was among the key figures contributing to what can be called the golden era of Malayalam cinema.
‘Siddique-Lal’, as the duo were known, brought to the screen numerous rib-tickling yet relevant stories of everyday life. What truly made their films relatable, and more importantly, enduring, was the skillful blending of social realities and humour.
Take their directorial debut, Ramji Rao Speaking (1989). The film is still remembered for its iconic lines and the uproarious situations the three primary characters find themselves in. On closer examination, it becomes evident that the film essentially revolves around the issue of unemployment. Notably, this theme was addressed in another classic, Nadodikkattu (1987), which they had co-written.
The ‘smile’ will live on. Forever
Following Ramji Rao Speaking, the duo went on to direct blockbusters such as In Harihar Nagar (1990), Godfather (1991), Vietnam Colony (1992), and Kabooliwala (1993). Godfather, which had a record run of over 400 days, won the duo a state award for the best film with popular appeal and aesthetic value.
The duo penned another laugh riot, Mannar Mathai Speaking (1995), which was directed by Mani C Kappan. No doubt, it was a hit. Subsequently, the duo parted, while maintaining their personal bond. Lal moved to acting, and Siddique chose to remain behind the camera. He made his solo directorial debut with Hitler (1996), starring Mammootty.
It turned out to be the highest-grossing Malayalam film of the year. He followed up with Friends (1999), yet another record-smasher. Siddique remade Friends in Tamil, roping in rising superstars Vijay and Suriya. He hit bull’s-eye, and adhered to this pattern of remaking his Malayalam blockbusters in other languages.
Meanwhile, he continued his successful solo ride in Malayalam with Ayal Kadha Ezhuthukayanu (1998) and Chronic Bachelor (2003), starring Mohanlal and Mammootty, respectively. Siddique struck gold with Dileep-starrer Bodyguard (2011), which was subsequently remade with Vijay in Tamil and Salman Khan in Hindi.
The latter went on to become one of the highest grossers in Indian cinema. He again teamed up with Mohanlal in Ladies and Gentleman (2013) and Mammootty in Bhaskar the Rascal (2018). In between, much to the cheer of fans, he co-wrote the script for Lal’s directorial venture with his son Jean Paul, King Liar, starring Dileep. Siddigue’s last film to hit the screens was Big Brother (2020), starring Mohanlal.
A striking characteristic of Siddique was his ever-present smile. Even when faced with adversity, it was rare to see Siddique without his radiant smile. He was an ace at making others, too, smile. The classics he penned and directed during his prime will continue to bring smiles for generations to come. Forever.