KOZHIKODE: The characters MT created were never one-dimensional individuals who could easily be fitted into categories. The writer, who plunged into the depths of the human psyche, was wary of stereotypes and reluctant to portray things in black and white.
Jayaraj, the protagonist of the film Uyarangalil penned by MT, could have been a typical villain who does not mind eliminating anyone who comes in his way. Yet there is a touch of melancholy that makes him a ‘tragic hero’. MT’s Chandu is not the villain who kills his cousin out of jealousy. Instead, he is portrayed as a tragic figure—a soul deprived of love and compassion.
MT’s Chandu is a motherless boy raised in his uncle’s home, constantly belittled because of his humble background, and never capable of committing such a ruthless act.
In a calculated departure from folklore, MT reimagined the infamous “traitor Chandu”. His Chandu is a sympathetic young man, deceived by his lover, Unniyarcha. He remains a failed hero—loved by none, cared for by none.
Similarly, the audience is moved to tears when Sathyanathan, in Sadayam, breaks down in the climax, despite his brutal acts, including the murder of two innocent children. MT’s writing taps into the human psyche, inviting viewers to empathise with even the most morally complex characters. In Perumthachan, jealousy reemerges as a central theme.
Though Raman, on the surface, kills his son Kannan out of jealousy that the latter has outgrown him, MT’s interpretation offers a deeper layer. Here, we see a father torn by loyalty to his friend Unni Thampuran. To Raman, the idea of dishonouring his friend outweighs the tragic accidental death of his son.
In Oru Cheru Punchiri, MT reshapes the portrayal of death, the ultimate villain, presenting it as a natural part of life rather than a feared end. Krishna Kurup’s passing is peaceful, following a satisfying meal and a tender conversation with his wife, highlighting the simplicity and serenity of death.
In his magnum opus, Randamoozham, MT extends this depth to antiheroes. Although Duryodhana is traditionally portrayed in the Mahabharata as greedy and manipulative, MT does not overlook the genuine friendship between Duryodhana and Karna, adding humanity to characters often painted solely in shades of darkness.
Major works
Pathiravum Pakalvelichavum (Midnight and Daylight): Debut novel serialised in a weekly in 1957
Iruttinte Athmavu (Soul of Darkness): 1957
Naalukettu (The Legacy): Published in 1958
Arabi Ponnu (The Gold of Arabia): Published in 1960 (Co-authored with N P Mohammed)
Asuravithu (The DemonSeed): 1962
Manju (Mist): 1964
Kaalam (Time): 1969
Vilapayathra: 1978
Randamoozham (The Second Turn): 1984
Varanasi: 2002