Maala Parvathi has donned many roles in her life – psychologist, social worker, corporate employee, TV anchor and, of course, actor.
An avid reader and lover of all arts, she is known among Malayalis not just for her memorable anchoring and cinema roles, but also for her strong personality. For being outspoken, something that gets her in trouble often.
In person, however, she doesn’t come across as the headstrong woman one would expect her to be. She is warm, loving, sensitive and an artist who loves letting her thoughts out.
Here, she opens up about an array of topics such as her entry into cinema, personal politics and faith, the complexities of the film industry, political correctness, drug abuse and more. Excerpts
You studied psychology, but did anchoring on television and later entered cinema. How did you get into the space of art and acting?
It was a bit of a coincidence that I ended up on television after doing my MA, getting married, and having a baby. Initially, I used to travel around as a resource person for the state AIDS cell. That’s how I landed on the popular talk show Nammal Thammil. That appearance somehow led to a surprise call to anchor a show named Ulkazhcha. That experience opened the door for me to co-anchor Suprabhatham, the first ever live morning show on Asianet, that ran from 1997 to 2000.
Then I moved to another channel, where I did a similar show for four years, before taking a break to study law. Subsequently, I was approached to play Padmapriya’s mother in the Suresh Gopi film Time. Suresh ettan and I go a long way back — his wife Radhika was my batchmate, and my mother was their doctor. He assured me it was a quick two-day shoot, and that’s how I dipped my toes into acting.
Soon after, Lal Jose called me for the remake of M T Vasudevan Nair’s Neelathamara. I wasn’t fully happy with my performance in Time, so I joined a one-day workshop with Abhinaya theatre group to see if acting was really for me. That was a turning point. I ended up staying with the drama group until 2015.
My proper acting debut was as Ellida Wangel in M G Jyothish’s adaptation of Ibsen’s Lady from the Sea, which we performed at many international stages. I also had the incredible opportunity to act alongside the legendary thespian D Raghuthaman chettan also. In the case of cinema, it’s with Leela (2016) or Godha (2017) that I truly began to feel at home in front of the camera.
Your role in Godha was noticeable… how did you approach it?
All credit goes to Basil. When I did Godha, I didn’t add my own interpretations since I was still learning. Basil knew exactly what the role needed, even down to a subtle smile. I respect him a lot. He’s a great actor, trainer, and director. Working with Amal Neerad in Bheeshma Parvam was also a delight. Of all my films, Mura was the most challenging, but I really enjoyed playing Molly in Bheeshma Parvam.
Psychology, social work, law, acting… where do you find satisfaction as a person?
Having studied psychology has been one of the biggest advantages in my life, especially for acting. It helps you understand people on a deeper level — you can pick up traits from personality disorders, depression, even sociopathy, like in the character I played in Mura. It really helps you get under the skin of a role.
Your choices make us curious… what was your childhood like?
I grew up hearing a lot of stories. My [paternal] grandfather, Velayudhan Kottukkoyikkal, was a disciple of Sree Narayana Guru and even wrote his biography. My father’s mother was a Sanskrit scholar, a woman of wisdom, always reading poetry, especially (Kumaran) Asan’s. I grew up hearing stories of Marthandavarma and Dharmaraja. My mother was a busy doctor, which meant I had a lot of freedom. My world was mostly outside home with my friends, and that continues to this day. I was also close to my father, who used to take me wherever he went. I have many fond memories of meeting his friends, such as Vayalar Ramavarma, S K Nair, Thoppil Bhasi and Veliyam Bhargavan.
Do you think all that experience influenced you to take up social work and later, arts?
Maybe, it runs in the family. One of my father’s sisters worked for All India Radio and wrote columns for newspapers. Having grown up in an environment where political conversations were normal, I am used to voicing my opinions. It is only now that some of these opinions have started biting me back (laughs).
Did you have this freedom of expression while working with TV channels?
Yes. Now when I look back, I don’t know where we got all the courage from. There would be celebrity interviews every day for around 45 minutes. I was blessed enough to interview legends such as Madhavikutty, O N V Kurup, T Padmanabhan, Devarajan master and L Subramaniam. Interactions with such great minds can influence your personality.
The nature of interviews has changed over the years, which has also attracted a lot of criticism…
We used to try our best not to get into controversies. We might have asked some tough questions to politicians, but with artists, we never got into their personal space. What I have noticed today is a lack of preparation. During those days, we used to study the guests thoroughly. I still remember interviewing Mohanlal during Thanmathra’s shooting. We were given a 10-minute slot, but it went for over two hours as we discussed the books he read, his rapport with artist Namboothiri, Mani Ratnam, etc. You can engage Mohanlal if you have answers to his questions.
Despite being surrounded by political discussions from a young age, why did you choose not to be part of active politics?
I am too sensitive to be a politician. I was the chairperson of Thiruvananthapuram Women’s College when SFI came to power for the first time ever in 1989. But in the same year, I had a fallout with them after people went around spreading rumours that I was in a relationship with [B] Satheeshan. It disturbed me so much that we eventually decided to get married. I am that sensitive.
In your 16 years of being in the film industry, what kind of evolutions have you witnessed so far?
When I first entered the cinema, it really wasn’t a safe space, one had to be very cautious. But things have changed a lot now. After the actress assault case, WCC, the Hema Commission report, and media attention, there is more accountability. People can’t get away with things anymore.
How about the quality of films?
Earlier, films focused more on literature and organic storytelling. Now – I know this might sound controversial – political correctness has curbed the space for sex and romance, while violent content has shot up. We have become too strict.
As a psychologist, I have seen how love can completely change even the most aggressive person. With moral policing, we blur the lines between love, friendship, and violence. This can be dangerous.
Do you mean to say society is more confused now?
We are heading in the right direction, but there’s still a long way to go. Earlier, for instance, the idea of consent barely existed. It’s better now, but still far from ideal. Everything is so fragile that relationships can break over misunderstandings.
There’s growing public resentment towards women, which is worrying. You hear men openly railing against women. The law supports women now. But if it’s not used wisely, it could create a bigger divide between men and women.
It is said that you pray a lot in the caravan…
Yes, I do.
What do you pray?
I do naama japam.
For the film’s success, or generally?
No, not for the film… (laughs). I chant Narayana, Narayana.... Hare Rama Hare Rama… the normal nama japam. It’s a habit. I do it from morning to night.
From a follower of Sri Narayana Guru to being a communist...
Even when I was with SFI, I was never away from prayers. I pray a lot. I have written Devi Stuti. I have sometimes woken up startled from sleep, dreaming that they do not let me into temples thinking that I am a communist.
How do you tackle attacks on social media?
My family supports me. My background also gives me some strength. Earlier, people used to collectively forgive small mistakes. That sense of community is fading. As for social media criticism, if I have done something wrong, I will admit and try correct it. I am human, I make mistakes.
In the case of backlash after the statement on Vincy Aloshious’s allegations against Shine Tom Chacko, do you think it was best to have withheld such remarks?
I was very clear with her. I told her, “Why should you be afraid?” This is not the old times. People are aware and alert now. The internal committees act quickly, they don’t even wait for a formal complaint. Women actors should not live in fear. That’s what I said. My stance is clear: success is not something sexually transmitted. It is something that we earn with hard work. We take what we deserve.
No matter who it is — a director, producer, or co-actor — we must respond then and there. As I said, the industry has changed. Basil’s set, for instance, is like heaven. Today’s film industry is a much more sensitive space. And in the end, a film succeeds or fails because of its quality, not personal politics or power games.
Since we discussed film sets, could you share how it was during your initial days?
It was horrible. We were always scared like we could be trapped at any moment. Once, after a shoot, I was brushing my teeth when someone knocked, claiming to be an executive with a parcel. The moment I opened the door, he hugged me. I was standing there with toothpaste in my mouth, asking, “Should I spit?” He ran off. The next day, I didn’t go back to my room and waited at the reception till night. Those days, people used to question the morality of women actors, which is not the case today. Earlier, we wouldn’t get support from anyone, even the director, but now producers are alert about even unwanted calls that we might get in our rooms. I had a terrible experience while working on a Sibi Malayil film when a Tamil actor groped me during the shoot. But nobody took it seriously and the next day, some crew members even turned it into a joke.
Do you think actors like Parvathy are being denied opportunities because they chose to raise their voices?
In the last 4-5 years, she has acted in a handful of Malayalam films, hasn’t she? There was that issue with the Mammootty film, which we all know, but they later acted together in Puzhu. Maybe it’s the case of her not giving dates. I’m not sure. But I keep hearing during script narrations that certain roles are set aside for her. It’s also true that WCC members are being sidelined.
You had deposed before the Justice Hema committee...
The three committee members were friendly and asked me to share my experiences openly. Since I’m also someone who speaks frankly, I told them everything I knew and heard about the industry’s shady side. Among the many things I shared was a bitter experience faced by a Tamil actress. When the SIT was formed they wanted to investigate it, which shocked me. I called the actress to inform her about it, but she was upset that I shared something that was between us and wanted her name to be out of it. But the SIT insisted on taking it forward and questioning her, which caught me in a fix. That’s when I got legal advice to approach the Supreme Court. It wasn’t to derail the fight for justice. I just wanted to protect someone’s identity while trying to do the right thing.
The problem is that I speak too honestly and don’t think of the consequences. Even in Vincy’s case, some media outlets reported me saying that harassment should be taken as a joke. That’s so painful. Would I ever think that? About Shine, I said he should face the consequences if he has spoken inappropriately, but that part wasn’t shown. Only selected clips are shared, which is scary. If someone wants to target us, they will. And I feel I’ve been in the spotlight for that reason.
What’s your take on the alleged drug menace in the Malayalam film industry?
There’s indeed a drug problem in the industry, though it’s not always visible. We’ve heard stories, but it’s never done openly, especially in front of senior actors. Issues often start in shared living spaces like flats. I’ve noticed some youngsters suddenly changing, growing a beard, and developing a new attitude.
You have been acting in Tamil and Telugu as well...
I’m getting more calls from Tamil and Telugu nowadays. I recently did Veera Dheera Sooran with Vikram, which was a beautiful experience, thanks to Arun (SU Arun Kumar) sir. Sometimes, I’m labelled unfairly here as a troublemaker or a woman who speaks her mind, but once we work outside, offers start coming here as well.
Do you feel books impact you more than watching a film?
Yes, because when you read, your imagination takes you places. I watched Aadujeevitham and loved it. But I still remember how I felt after reading the book—it was so intense that I found it difficult to even drink water; I actually felt guilty doing so. But I stopped reading for a while. I had taken a long break after reading Francis Itty Cora—that book really affected me. The rape scene in it hit me hard and I even vomited. It was so emotionally overwhelming that I couldn’t bring myself to read anything else for a long time. Recently, I got back into it with Kara by Sara Joseph, which is giving me joy. Books give you a kind of experience nothing else can. That said, there are series and works like Adolescence, Schindler’s List, The Shawshank Redemption, Substance, Amélie, Anora, and The Girl With a Needle—all of these have left a deep impact on me.
Are you choosy when it comes to selecting roles?
Yes, I’m hesitant to play a character who traffics children or forces them into prostitution. I was offered such a role once, and I had to say no—it was just too panic-inducing for me. I think the trauma of sexually abused children is something that stays with them for life. I could play a murderer or a smuggler... but not that.
Do you consider whether the character aligns with your personal beliefs or politics? For example, a regressive mother-in-law, whose actions are justified in the film...
I’ve actually faced this situation in a film. I played a regressive mother-in-law, and in the story, the daughter-in-law is unable to conceive. There’s a scene where my character says a dialogue about a superstitious belief on women who can’t bear children, which goes unchallenged in the film. I had a long argument with the director about that dialogue. My concern wasn’t about the character being regressive—I have no issue playing such roles—but I was worried about the audience, especially women who are struggling with infertility. A dialogue like that can deeply hurt them. When such superstitious beliefs are uttered without any challenge, it reinforces them. I wanted a shot where someone criticises my comment, but it was never corrected. If a topic in a movie is not conveyed in a politically correct way, it could be hurtful or leave a scar.
Do you think writers today are forced to make every character politically correct out of fear?
Not every character has to be politically correct, even if the film takes that stand overall. If we try to filter every portrayal through political correctness, it can affect the craft itself. People are now rewatching films like Vandanam and questioning the portrayal of romance in them. Showing a man following a woman he loves is now viewed as glorifying stalking. Because of this shift, we’re seeing fewer portrayals of romance and more violence. But I feel looking at someone out of love or wanting to be near them shouldn’t be called stalking. The basic human instinct to seek connection and choose a partner is being questioned today. But in Kerala, it sometimes feels like even asking someone if they’re interested is seen as wrong.
Of course, if someone says no, that must be the end of it. No staring or pestering. But getting to that point does take a little time. Wanting to see someone, and feeling curious—those are natural. We should be allowed to ask that question, and whatever the answer is, it must be respected. This divide we’re creating feels like moral policing. And it shouldn’t be only men trying to figure out how to talk to women. Women should also share what feels right to them. We’re all human and we all want to be loved. If we keep pushing people to suppress these feelings, it can lead to frustration, addiction, or even violence. We’re emotional beings, not robots.
Don’t you think, this issue stems from how the person is approached? Take Annayum Rasoolum for instance... many feel Rasool was creepily stalking Anna.
There’s an arc to how we come to like someone. You first notice them, observe their personality, their behaviour, and gradually start liking them. That arc exists for everyone. Isn’t that what we read in books or see in films? So if that’s somehow wrong now, then women should also tell us how it should be done. I’m saying this because, during counselling, many boys have asked me, “How should I talk to her?” And honestly, I don’t know. Are we becoming paranoid, expecting danger in every interaction? Yes, there are real threats like acid attacks, but not every situation is dangerous. In my case, I was the one who asked my husband to marry me. He denied and later, I told his sister about it. Was that stalking? I don’t know. What if he thought I’d throw acid on him?
Coming to Annayum Rasoolum, how do you think someone like Rasool would have approached a girl? You’ve to consider where he’s coming from. Viewing from a politically correct lens isn’t ideal for every situation. That’s why we need open conversations. We don’t want drugs, addiction, or violence. Isn’t love better than violence? But society seems to be moving in the wrong direction. We need to bring back love, laughter, and fun. We need more live arts, like theatre, music and festivals. Love stories should be celebrated across all art forms.
Do you think we’re trying to become a puritan society?
Exactly. We are moving to a puritan society, returning to the Victorian era. We are imposing moralistic, utopian standards for everyone. Men’s situation is very difficult today and it’s time we pay attention to them as well. With more laws supporting women, there should be ways to ensure they are not misused. Basically, our society was not good. It’s only getting better now and we should try to improve it further.
Team TNIE: Vignesh Madhu, Krishna P S, Ronnie Kuriakose, Vivek Santhosh, A Sanesh (photos), Pranav V P, Harikrishna B (video)