Talented, adaptable, and always up for a challenge — Priyamani has steadily built a space for herself in Indian cinema, seamlessly navigating between critically acclaimed performances and commercial blockbusters.
From winning a National Award for best actress through Paruthiveeran to shaking a leg with Shah Rukh Khan in Chennai Express and Jawan to making waves in pan-Indian projects such as The Family Man and Article 370, she has consistently showcased her range as a performer, however small or big the part may be.
Now, Priyamani is back in Malayalam with Officer On Duty, a police procedural starring Kunchacko Boban in the lead. As the film hits theatres on Thursday, we sit down with her for a freewheeling chat.
Edited excerpts:
Could you elaborate on your foray into modelling and acting?
My brother and I were always encouraged to explore our interests. Amma was a national-level badminton player who represented India. My father, who was also a sportsperson, was in the plantation business.
Though our family had traditions, it wasn’t overly orthodox. I began modelling in college, initially focusing on ramp shows as I thought my height suited that. My first break came in Bengaluru, and later, I was told my face was better suited for print modelling. After getting a portfolio done in Chennai, I landed saree and jewellery ads. That led to film offers. Fazil sir approached me for Kaiyethum Doorath (2002), Fahadh (Faasil)’s debut film. I auditioned successfully, but it didn’t work out since they couldn’t wait for my college exams to finish. After graduating, I continued modelling in Chennai until [director] Bharathiraja sir’s office called. The rest, as they say, is history.
How did you enter the Malayalam industry?
My first Malayalam film was Vinayan sir’s Sathyam. We met, he narrated the story, and I was interested. And that was it.
One of your most memorable performances in Malayalam was Malavika in Thirakkatha. How did you prepare for the role?
There was no preparation. It was all on the spot. I had blind trust in [director] Ranjith sir. He had liked my performance in Paruthiveeran. When he first narrated the story over the phone, I had doubts about whether I could pull off a character of such intensity. But he trusted me, and that was enough. I just went with the flow.
Is that how you prepare for all your roles? Spontaneously?
Yes, very much so. When I read the script, the dialogues, I get an inkling of what it should feel when acting it out. I go with what feels natural and convincing at the moment.
There were talks about you missing your second National Award for Thirakatha...
Yes! The producer told me that I was very close to winning it. The only thing that held me back was that I didn’t dub for the film, which was a criterion. But that’s alright, it happens.
Have you ever thought of dubbing for Malayalam films?
Of course. But I never got the opportunity. Malayalam is the only language in which I have never dubbed. I have always wanted to, but it’s important that the makers feel my voice fits the character.
Your National Award-winning performance as Muthazhagu in Paruthiveeran was so raw and rustic. There must have been some preparation…
None at all. That was my first time playing a village-based character. I had no clue about the story when I met [director] Ameer sir. Even during shooting, we didn’t always know what scene we would be filming that day. Ameer sir would come, scan the location, and sometimes, the dialogues would be written fresh on the spot. The whole process was very organic. All the credit goes to Ameer sir. Even today, when I go to Tamil Nadu, some people address me as Muthazhagu.
Could you tell us about your upcoming film, Officer on Duty?
I play Chackochan’s wife, portraying a strong-willed college professor who fights for what she believes is right. The character has its own complexities, and I truly enjoyed bringing her to life. Working with Chackochan was on my bucket list, and I am thrilled to have finally done it. We met 12 years ago at some dance programme. Yet, filming together didn’t feel like a first-time collaboration — it was great fun! I am a bit sad that I couldn’t dance with him in this film. This film doesn’t have a space for it. I would love to do a nice dance number with him.
You have worked as a lead actress alongside both of Malayalam cinema’s big Ms (Mammootty and Mohanlal). How was that experience?
Fabulous! Fantastic! I wish I could work with them again and again. Every scene was a learning experience — seeing how they approach a scene, their thought process, execution. I got a chance to work with Mohanlal sir again [after Grandmaster] in Neru. I hope I get to work with Mammootty sir again.
Were you intimidated by them at first?
Of course! Who wouldn’t be? Their persona and presence are larger-than-life. But once you start working with them, they are incredibly warm. They guide you with dialogues, slang, delivery, etc. Sometimes, they just step back, watch you work and appreciate you when you have done a good job.
Any special memories from working with them?
Oh yes! In Pranchiyettan, there is a scene where Mammootty sir kicks me. He kept telling me that he would just pretend as if kicking, and that I had to react as if it was a heavy one. I told him I didn’t mind taking a good kick for the scene’s naturality.
Was it a good one?
Yes, a bit (laughs). He profusely apologised after the take. He was so considerate.
And Mohanlal…
While shooting Grandmaster, we learnt that his mother was hospitalised. After shoots, he would rush to the hospital and come back the next morning straight from there. I once asked him how he managed to stay focused despite the stress. He told me, ‘When I come to work, I am the actor. When I go to the hospital, I am the son. I never mix personal and professional lives.’ That was a big lesson for me.
What was it like to work with Mani Ratnam?
Oh! Another legend. Another big M (laughs). After Paruthiveeran, I was heading to Goa for IFFI when I met Mani sir. He praised my performance and said he would call me soon. I was thrilled. The moment the call came, I took the next flight out. At his office, he introduced Raavanan as a modern take on the Ramayana. I assumed it was only in Tamil, but then he asked about my Hindi. When I said I could manage, he sent me upstairs to his assistant for a conversation. To this day, Mani sir doesn’t know Hindi that well! His assistant later confirmed my Hindi was manageable. That’s when I realised I was doing both versions of the film. Recently, at a Mumbai event showcasing Mani sir’s films, I was given the honour of speaking about him.
How was the experience of working with S S Rajamouli [Yamadonga in Telugu]?
He’s one of the coolest directors I have worked with. He will take extra care of you. I went to the sets of Yamadonga after doing Paruthiveeran, which had been shot in extreme hot weather. My skin had become tanned and I was dealing with breakouts. After two days of shooting, Rajamouli sir noticed the tiredness in my eyes. He called me aside, gave me a week off. He even recommended a beautician and salon. He wanted me to be fresh. That was quite thoughtful. On the set, he knows to extract the best in you with a smile. If you need time to prepare, he gives it. If you are tired, he lets you leave early. I miss working with him.
How was your entry into Bollywood?
It started with Raavan. But there was a gap after that. Then I did that song in Chennai Express [1,2,3,4 ... Get on the dance floor]. There was a gap after that, too. I think it was in The Family Man that everyone started noticing me. I am grateful to (filmmaker duo) Raj & DK for that. Initially people there didn’t recognise me, that I was that same girl from Chennai Express. I believe the north Indian audience started recognising me after The Family Man.
Your character Suchitra in The Family Man received hatred from a section of the audience [who felt she let down the protagonist]. How did you perceive it?
I must have done something right (smiles). That is why they hate the character. They don’t hate me. I am happy that audiences are connecting with the characters, not just mine, everyone. That’s the beauty of how well it has been written and made.
How was the experience working with yet another big M, Manoj Bajpayee?
He doesn’t interfere in anyone’s acting. Whenever he is on screen, he brings his magic. He rehearses, learns his dialogues, and delivers with precision.
I always say that when acting alongside Manoj sir, Mammootty sir, or Mohanlal sir, one must be extremely alert. During rehearsals, they may stick to the script, but in the actual take, they often add subtle improvisations. You must pay close attention to their cues and improvise accordingly.
One of the brilliant things about Raj & DK is that they never call for a ‘cut’ immediately after a shot. They let the scene flow naturally to see if any spontaneous moments, lines emerge. That spontaneity creates real magic.
The dance number in Chennai Express gave you much recognition and a better market in the Bollywood. Were you upset that you were initially known in the north by just this dance number despite having done other solid roles?
No, not at all! It’s a big thing that people recognised me in Chennai Express. Even now, at weddings or on TV shows, 1, 2, 3, 4... song is still played. I will always be indebted to Rohit Shetty for offering me the song. When I met him, I told him, “Sir, you have two of the biggest names — Shah Rukh Khan and Deepika Padukone. If I do this song, I don’t want to just be a background dancer.” He assured me, “No, this song is just between you and Shah Rukh.” That was all I needed to hear. I instantly asked, “Where do I sign?” I was onboard within five minutes! Now, people recognise my work in The Family Man, Article 370 and Maidaan… I’m just happy that my work is being noticed!
After that, did the offers for performing item numbers start to come to you?
Yes, but I declined. I didn’t want to be known as a person who can just do only songs.
We have heard that you taught Shah Rukh a few dance moves…
It’s not that I ‘taught’ him. For them, mastering the south Indian style can be slightly difficult. Shah Rukh initially found it challenging. So he asked, “What would this look like if Priya did this step?” I explained how to make it work, guiding him on small details. Of course, 99 per cent was him, but I was happy to contribute that little 1 per cent. And he acknowledged that! The same happened in Jawan during the ‘Zinda Banda’ song. There were six girls, and I was initially positioned behind Shah Rukh. He, however, pulled me forward. He then told [director] Atlee and [dance choreographer] Shobi (Paulraj) master, ‘From now till the end of the shoot, no matter how long it takes, this girl is my dance master, and she will stand next to me.” I was like, “Ayyayyo! (laughs)” That’s something beautiful about Shah Rukh Khan — he never forgets.
You have worked across multiple film industries in India. Do you see any difference in the portrayal of female characters when compared with the past?
Of late, things have changed. I would say post Covid, or perhaps slightly before that. I have noticed that female characters have become much stronger. Gone are the days when women were only there for songs, a brief scene leading to a song, or just to marry the hero, followed by a romantic sequence in an exotic location. I am not saying this doesn’t happen at all, but now, female characters have more to add to a film.
Across industries — Tamil, Malayalam, Telugu, Kannada, and Hindi — there has also been a rise in female-centric films. These films may not always have the same theatre pull as mainstream commercial films, but they have their fair share of audience support. I believe it will continue to grow. Malayalam cinema, in particular, has long given female characters depth and significance.
How do you choose your characters?
While listening to a story, be it for 30 minutes or one hour, if that holds my attention, I am convinced that I can do that character. Sometimes you have that gut feeling that a role would work out well. If I get that feeling, I will do it. Or else, I won’t. I will politely decline.
As a female actor, is it easy to be choosy in this industry?
At this stage, I can choose whether or not to be part of something (smiles). And when I express that, it’s understood. It’s crucial to be comfortable with the roles I take on because those who look up to me — friends, family, or others — shouldn’t feel awkward about my choices. Whether a film succeeds or not is secondary. What matters most is that my character isn’t questioned with, “Why did you take that role?”
Have you ever regretted the opportunities you chose to decline?
No, I am very happy with my choices. It’s alright, even if a film that I rejected went on to become a huge hit.
You usually excel in roles where the character is assertive or headstrong. Are you naturally that way?
Hey, I am not that headstrong (smiles). It’s actually about getting in sync with the role. I don’t know if I am a headstrong person. I am very adaptable to situations. If a situation demands that I put my foot down. But otherwise, I think I am quite normal.
You are part of Vijay’s final film Jana Nayagan... Have you started shooting for it? Any details?
Not yet. I will start soon. You will get to know.
Do you feel an actor should be just an artist, or be a role model and activist as well?
Being in front of the camera means that everything we do or say is observed by others, and many people look up to us for inspiration. Even the smallest things, like how we dress or conduct ourselves, are noticed. So, we must be careful, as people observe everything. As an artist, you embody many roles — you can be a role model, an inspiration, or even an activist — as long as what you do brings good to people and doesn’t harm them in any way.
Have you felt the pressure to respond to social issues?
Not at all. When I was somewhat active on Twitter, now X, I spoke about a particular issue. There was both positive and negative feedback. Over time, I realised that the negative responses kept coming. I wondered, why was I receiving such criticism? Simply because I was speaking the truth. I decided that if I ever feel it’s necessary to speak out, I will. But I don’t want to involve myself in unnecessary situations that create discomfort for everyone. My philosophy is simple: be good, do good. Show up, do your work, and move on.
You faced a great deal of social media negativity regarding your personal life… Did it affect you?
It has, though not to a large extent. To some extent, I did feel bad. Why should my personal life get affected? When I announced my engagement, I received negative remarks from people I don’t even know. I simply wanted to share my happiness, expecting support from those who had appreciated my work. Instead, I faced unnecessary backlash — just because my fiancé belonged to a different religion. For us, religion was never a factor. We respect each other’s faith. That’s all that matters. I later realised that I was answerable only to my husband and our families, not strangers hiding behind screens. We have consciously chosen to keep our personal lives private, sharing only what truly matters.
There were controversies over your film Article 370 as well...
A lot. Some called it propaganda. We still face such claims. But that’s fine. At the end of the day, we are incredibly happy that a women-led film ran for 100 days — what more could we ask for?
On top of that, we received recognition from the prime minister himself. I truly believe it was a well-made film.
Many had doubts before its release, but after watching it, their views changed. People assumed it would be a certain way, but when they saw it, they realised it wasn’t what they had expected. And that’s because we told the truth.
While creative liberties were taken, the core of the story was based on real events. Yami’s character was inspired by an actual officer, but for security reasons, we couldn’t meet or mention her real identity.
My character represented the PMO — not necessarily one person, but possibly an entire team. Everything was carefully discussed by the director, producer and writers. They had conversations with the PMO before proceeding. Every stage of the film’s depiction of the PMO was reviewed.
Before signing the film, did you go back to your history lessons?
I learned a great deal of history while shooting. When the article was abrogated, we, as citizens, were quite irresponsible — we were distracted by other matters that were far less significant than an event of such magnitude.
We failed to focus on why it was abrogated, the main reason behind it, and, most importantly, the way it was carried out. Not a single life was lost — not a drop of blood was shed.
The way our honourable prime minister orchestrated the abrogation was incredibly smart and strategic. I received a history lesson not only on how it happened but also on how the PMO functioned throughout the process.
When we were handed copies of the original official orders, my hands trembled — it was a real goosebumps moment. The way they rectified this long-standing issue was nothing short of phenomenal.
Have you kept that order’s copy at home?
No (laughs). But it’s a good idea — I think I will ask for one. I still remember that sometime last year, around mid-year, I received a letter from the home minister’s office. When you see an official letterhead with the Indian emblem, there’s an immense sense of pride.
He sent me a letter acknowledging my work, which in itself was an honour. Along with it, they gifted me a copy of the Ramayana, depicted in the form of stamps. I thought that was incredible.
It’s a huge honour. And, of course, receiving a mention from Narendra Modi sir was an extraordinary moment for all of us.
TNIE team: Kiran Prakash, S Neeraj Krishna, Anna Jose, Krishna P S, Mahima Anna Jacob, Vivek Santhosh, Photos: TP Sooraj, Video: Harikrishnan B, Pranav V P