Soft-spoken and reserved, Sibi Malayil stands tall as one of the most successful directors in the Malayalam film industry. With a career spanning over four decades, he has helmed about 40 films since the mid-1980s. His films have resonated deeply with audiences, captivating them with stories that make them both laugh and cry. Sibi recalls his journey and shares his insights on the evolving trends in the industry.
Excerpts:
What inspired you to enter the film industry?
My inspiration came from watching films. In those days, films were often associated with the names of the actors. However, Abhayam left a lasting impact on me. It broke away from the typical pattern of that era. The storytelling was distinct from others. I wasn’t initially aware that the director of the film was Ramu Kariat, although I had heard of him as the director of Chemmeen.
The story for Abhayam was by Perumbadavam Sreedharan, and the songs were penned by eminent poets of the era, including Mahakavi G Sankara Kurup. During those times, the average cinema-goer’s curiosity often centered around identifying the character playing the role of the ‘CID’ in the film (smiles). If [Prem] Nazir played the ‘CID’ in one, it would be [K P] Ummer in another.
Another film that deeply resonated with me was Swayamvaram. I remember feeling that the film should end when [actor] Sharada closes the door of her house. To my surprise, it ended exactly as I had imagined. This connection with my own thought process further fuelled my passion for cinema. During that time, there were film reviews by critics such as Kozhikodan (K Appukuttan Nair).... Reading those inspired me to start writing reviews, though I lacked technical knowledge about filmmaking. I never imagined I would become a filmmaker.
Your first film, Mutharamkunnu PO, has a unique re-watch quality, and the innocence of the characters. Can you share memories from those days?
I am an introvert, and never had the talent for self-marketing. While working as an assistant director, I had no access to Kodambakkam. During my visits to Madras, I used to stay in the guest house of Navodaya. I learned filmmaking without leaving my comfort zone, but my work was noticed by production houses through the technicians. Major production houses of the time, like Century, approached me to make films.
While I was working with Priyadarshan, two people came to meet me: ISRO scientist Nambi Narayanan and his co-brother Subramanyam, who had produced Joshiy’s Piriyilla Naam. I discussed some stories with Raghunath Paleri, but couldn’t finalise any. At that time, actor Jagadeesh mentioned a story narrated by Sreenivasan.
He felt it would be ideal for me to direct. Later, Sreenivasan suggested casting the late wrestler Dara Singh. Jagadeesh went to Mumbai and convinced Dara Singh to play a role, and that changed the profile of the film. However, though the film received critical acclaim, it did not fare well at the box office. On the day of its release (June 21,1985), I went to a theatre in Palakkad. It was released alongside two major films, Onningu Vannengil and Oru Nokku Kanaan.
While there was a huge crowd for the other two films, there were only a few people for mine. I asked a man at the canteen how the film was. He said it was a wrestling film, and advised me to watch another one. That was the first review I received for my debut film.
Could you share how you found subjects for your films? Over the years, you have explored various genres…
There isn’t a planned approach. It depends on the stories that come my way. Many stories present themselves, and certain elements within them capture our attention. Most of my films aren’t pre-planned; the stories have to stir something within me. My priority has never been commercial success.
Mutharamkunnu PO wasn’t the first film I had planned. Initially, it was another story, which eventually materialised after 17 years as Devadoothan. The original concept revolved around a seven-year-old boy recalling events through his dreams. I even dreamt of casting Naseeruddin Shah and Madhavi in the lead roles. I believe it would have been a great film had it been made in its original form.
Years later, Siyad Koker approached me with a desire to make a unique film. I mentioned that I had a script planned for years, and we decided to proceed with it. Mohanlal found the subject intriguing. Initially, I was hesitant because the characters didn’t seem suitable for him. He suggested changes to the characters to better fit his image, and the producer was also keen on his involvement.
So, you had to change the story for Mohanlal?
Yes, we had to make significant changes to the story. Some comic elements were added, and we transformed his character into a former student [of the college where the plot unfolds] to align with his hero image. However, both the writer, Raghunath Paleri, and I were not entirely convinced about the changes. They were made due to pressure from the producer.
Though the film didn’t do well at that time, people are talking about it now…
It’s somewhat ironic that people are now appreciating the film. Despite its flaws, it had several innovative aspects, such as sound quality – some compared its production quality to Hollywood standards. However, the film’s failure had serious repercussions for the producers and me. I went into depression. The fact that people are enjoying it now doesn’t negate the losses suffered back then.
Kireedam and Chenkol are evergreen classics. However, some people were not happy with the latter. How do you feel about it now?
Personally, I hold a preference for Chenkol over Kireedam. I found the second part to be more challenging for the director, scriptwriter, and actor alike. The character of Sethumadhavan, a middle-class youth, undergoes significant transformation upon his return from a seven-year jail sentence. Mohanlal’s portrayal of the character’s evolution was exceptional.
Many have questioned how a character like Achuthan Nair could become a pimp. However, the film’s greatest achievement lies in its ability to depict these characters as integral parts of society, thanks to the skilled craftsmanship of the writer (Lohithadas) who brought them to life.
There were allegations that Mohanlal’s portrayal of Sethumadhavan in Kireedam was neglected at the National Awards…
Mohanlal’s performance was indeed deserving of recognition. He delivered exceptional performances in two of my films that year – Kireedam and Dasaratham. The characters he portrayed were vastly different: one was a village youth, while the other had shades of grey. It’s worth noting that the same actor, who was only 29 at the time, convincingly portrayed these two contrasting roles. However, we cannot criticise the selection of Mammootty that year, as his performance as Chandu in Oru Vadakkan Veeragatha was also outstanding.
Mohanlal won the National Award for his performance in your film Bharatham later…
We never expected National Awards while making the movie. Bharatham evolved unexpectedly. The original theme was different, and we had to change the story during the shooting process.
Many heroes in your films surrender to the adversities in life. What was the reason for the selection of such stories?
The credit for the selection of such stories goes to the writers, M T Vasudevan Nair and Lohithadas, who are renowned for their storytelling prowess. I am merely the person who attempted to translate their narratives into visuals. For instance, during the making of Kireedam, the distributors demanded a change in the climax, arguing that audiences wouldn’t accept Mohanlal’s character ending up in a helpless state. However, Lohithadas insisted on retaining the climax, asserting that his heroes were individuals willing to sacrifice their lives to protect their families. That decision became the highlight of the film – showcasing a hero who surrenders to destiny while striving to protect his loved ones.
There was a rumour that you pulled out due to interference from Kamal…
Yes, there were indeed some instances of interference. Before joining the project, several senior directors cautioned me about the challenges of working with Kamal. While Kamal possessed extensive knowledge about filmmaking and often shared his opinions, I initially believed I could manage any differences. However, there were occasions when he made decisions without consulting me, such as finalising costumes. When I visited his office one day, [Kamal’s ex-wife] Sarika presented multiple costume options, which came as a surprise as I hadn’t been informed. It became apparent to me that continuing with the project might pose difficulties. Director Bharathan had also faced similar challenges while working on the film Thevar Magan.
Your last few films didn’t perform well at the box office…. What’s your assessment?
The responsibility lies with me. I couldn’t make proper decisions. I embark on projects with the belief that they will be successful, but, with some of them, I have had a sense of regret. Some films didn’t turn out as I imagined.
There is a view that filmmakers of your generation have not kept up with the evolving trends in the industry. What are your thoughts on this?
I am not sure if it’s fair to term it as a matter of industry ‘grammar’. Perhaps the filmmaking style of directors from my generation differs from what today’s audience expects. The editing patterns and storytelling techniques we employ may not align with the preferences of the current generation. Nowadays, audiences predominantly consume short films and reels on social media, which influences their cinematic tastes.
Unlike older films, which lingered in the audience’s memory for long, contemporary films may not have a lasting impact. In terms of filmmaking, I don’t perceive significant changes occurring. Films like Apoorvaragam managed to find success even amidst the emergence of new-generation movies, indicating that quality content can still resonate across generations.
There was criticism against the gory scenes in the film Sadayam...
The visualisation of the scene was more intense than what was initially written by writer M T Vasudevan Nair. That was a conscious decision on my part. I approached the film with more deliberation and caution compared with my previous projects, as the screenplay was intricate. Sadayam had a non-linear narrative, traversing through the perspectives of multiple characters. That posed a challenge.
As a junior filmmaker, I felt intimidated whenever sir (MT) visited the shooting set. The particular scene in question was executed with deep involvement over four nights of shooting. It not only depicted the character’s eccentricity, but also portrayed the chronological progression of events. That approach was conducive for Mohanlal’s portrayal, as the character’s mental state evolved throughout the sequence.
During the screening of the film, I stood humbly before sir (MT), awaiting his feedback. While he didn’t say much, his smile spoke volumes. Recently, I heard that he told someone that Sadayam was the only film that surpassed his original script. If true, it’s the greatest recognition for me.
Your entry into the Tamil industry was to begin with ‘Gunaa’, but you dropped out of the project. Can you tell us what happened?
Kamal Hassan invited me to Raaj Kamal Films’ office, where he expressed interest in adapting Thaniyavarthanam in Tamil. The film was to be produced by Kamal’s manager, D N Subramaniam, who wanted a commercial film. Subsequently, Kamal and I decided to work on a commercial film based on the Indian Peace Keeping Force (IPKF) in Sri Lanka. We extensively researched the topic.
However, due to the controversial nature of the subject, Kamal eventually decided to drop the project. Incidentally, Rajiv Gandhi was assassinated the following year.
We brainstormed for a new story. Kamal expressed interest in portraying a slightly eccentric character, which led us to develop the idea of Gunaa. I roped in Sab John, who shared a good rapport with Kamal and me, and cinematographer Venu. We also sought the help of Tamil writer Balakumaran. As discussions on Gunaa prolonged, I had to shift focus to my ongoing project, Bharatham.
During its shoot, Kamal reached out, informing me of a photoshoot. However, I had prior commitments in Kanchipuram, close to Bharatham’s release date. When I reached Kamal’s office after completing my work in Kanchipuram, he was upset. That misunderstanding led to our parting ways. Kamal proceeded with the film, opting to work with his close associate Santhana Bharathi. Venu and Sab continued their involvement, but I never even visited the Gunaa set.
Mammootty and Mohanlal have delivered, probably, their best performances in your films. What do you attribute their enduring success to?
Their unwavering dedication to their craft. For them, cinema is not just a profession, but a way of life. Mohanlal exudes a natural ease in his performances. He doesn’t appear to strain himself excessively; rather, he effortlessly slips into his characters. Mammootty, on the other hand, always seeks out fresh ideas, new challenges. It is said that when you meet Mammootty, he’s already contemplating his next role or project. He constantly pushes himself creatively. Their talent and versatility are what have sustained their careers for so long. Few actors possess the range and depth that they do.
The collaboration between Sibi Malayil and Lohithadas yielded several successful films. What was the secret behind the chemistry?
The chemistry stemmed from our effortless communication. Despite Lohithadas’s storytelling being somewhat vague at times, I could grasp his vision easily. His writing consistently exceeded our expectations, presenting me with welcome challenges to translate his words onto the screen.
It has been 30 years since your last collaboration with Mammootty, Saagaram Sakshi. Can you shed light on why you haven’t worked together since then?
There is no specific reason. During that period, I was heavily engaged in consecutive projects with Mohanlal. At one point, Mammootty approached me, expressing interest in a project, and I agreed. I developed a script based on [popular oncologist] Dr V P Gangadharan’s book Jeevithamenna Albhutham, and Mammootty was on board.
However, due to uncertainties regarding the producer, Mammootty suggested dropping the project. Collaborating with Mammootty is still something I look forward to. Currently, I am in discussions with producer Hemant Kumar and Mammootty regarding a potential project.
Did you expect Akashadoothu would be a hit?
Yes, I had a strong feeling about its success right from when I first heard the script. However, the initial response wasn’t overwhelming. But, those who watched it gave positive reviews, and I believed word-of-mouth would play a significant role. From the 17th day, it gained momentum and became a super hit, running for 150-170 days. Notably, it was a low-budget film.
It used to be said that people went to watch the film just to cry. They were even given handkerchiefs upon purchasing tickets...
Absolutely. Tears can be a great emotional release. The kerchief was my idea (laughs). Initially, as the footfall wasn’t great, the producer and I brainstormed ideas. While he suggested giving away a Maruti car based on a film-related question, I proposed providing a complimentary handkerchief, with the film’s name printed on it, along with the ticket. Given the emotional impact of the film, it seemed fitting. That turned out to be an effective promotional tactic.
Is there any film of yours that you wish to remake?
Devadoothan. I envision an original version of the story in another language, featuring teenagers. The core concept revolves around a spirit catalysing love between a young couple, who are initially just friends. The spirit orchestrates a misunderstanding between the boy and girl, eventually leading them to realise that they harbour romantic feelings for each other. The underlying message conveyed is profound — that one must truly comprehend the depths of love by experiencing the pain of separation. The spirit strives to communicate to his lover that he has departed and encourages her to move on. It’s essentially parallel love stories with intricate layers.
Which is your favourite among your works?
Sadayam.
Is it because of the complexity?
Yes, precisely because of the complexity of the script and screenplay. Additionally, as a director, the film posed challenges during shooting, given that most scenes were filmed inside the jail, restricting free camera movements to static shots. I invested a great deal of effort on the film.
Review bombing has become a topic of discussion. What is your take on it?
It’s a recent trend. Many reviewers view filmmakers as their adversaries, and use review platforms to attack them. Creating a film requires significant struggle. Each film is the creative expression of its filmmaker. While some may appreciate it, others may not. Unfortunately, there’s little we can do about it. Moreover, many reviewers lack understanding and ask nonsensical questions. Some of them are uncouth as well when they approach you for bytes. I recently attended a screening of Manjummel Boys, and reviewers were hounding everyone. Such experiences have made me reluctant to attend preview shows.
There’s criticism about Mohanlal’s accessibility, with some saying that one must first approach Antony Perumbavoor. Have you encountered this?
I haven’t experienced this. However, it’s true that he’s not as reachable as he once was.
Is this why there’s no collaboration between you both?
Yes, that’s one of the reasons.
TNIE team: Kiran Prakash, Rajesh Abraham, Manoj Viswanathan, Rajesh Ravi, Aishwarya Prabhakaran, Anna Jose,
T P Sooraj (photos)
Harikrishna B (video)