On Christmas Day in 1980, Manjil Virinja Pookkal was released in theatres without big names or any fanfare. But that small film by a debut director named Fazil went on to become a pathbreaking hit.
The vision of a young filmmaker changed the course of Malayalam cinema. The film also launched to stardom the likes of Mohanlal, Shankar, Poornima Jayaram and Jerry Amaldev.
Now, as Manjil Virinja Pookkal turns 45, TNIE catches up with Fazil to revisit the making of the landmark film. Excerpts:
Could you share how the core idea of Manjil Virinja Pookkal came about?
I was involved in the script discussions of Thacholi Ambu as part of its creative team. After its success, I asked Navodaya Appachan if we could try making a small-budget film with newcomers. Though hesitant at first, he approved the idea later. But we still didn’t have a story for the film.
Around that time, [Appachan’s son] Jijo Punnoese handed me a book on people’s ghost experiences. A piece in that collection caught our attention. It told the story of two strangers who meet on a flight, fall in love, but after reaching their destination, the woman is mysteriously murdered by her ex-lover. Oddly, her friends claim to have seen her alive after the murder, leading to the eerie question of who they saw.
That sparked the idea of what if someone from a lover’s past returns and disrupts a new relationship. From that thread, Manjil Virinja Pookkal was born. I never imagined it would become such a landmark film. If it had failed, perhaps no one would have even known my name today!
Many people consider it a ‘new generation’ film that broke several conventions. Looking back, how do you see it now?
I don’t see Manjil Virinja Pookkal as a ‘new generation’ film. To me, however, it was a lesson. It was only after making that film that I began to approach projects like Noketha Doorathu Kannum Nattu, films that are now considered timeless, with attention to detail.
Looking back, I actually wonder if we had gone overboard with the style trends of that era — the haircuts, the bell-bottoms…
That said, when filmmakers like Sathyan Anthikad say the film changed the course of Malayalam cinema, I agree. It marked a clear turning point after the Prem Nazir–Madhu–Sukumaran era, paving the way for the rise of Mammootty and Mohanlal.
Why did you feel newcomers were the right choice for this film?
Casting newcomers helped keep the story and characters believable. Had I used the popular stars of that time, the audience might have found it hard to accept the plot. There would have been moral questions and controversy. But fresh faces come without baggage. That freedom makes anything possible.
I have always been open to experimentation. Even four years later, when I made Nokketha Doorathu…, it wasn’t a ‘new-gen’ film, but it had a ‘new-gen’ idea. At a time when male heroes dominated the screen, we made a film centered on a heroine.
What made you choose Mohanlal to play Narendran?
At the time, Sholay had just become a blockbuster, and Gabbar Singh, with his curly hair and unconventional charm, broke the typical villain mould. That inspired me. So when this boy walked in for the audition carrying a lady’s umbrella, we immediately sensed something different. That’s why Jijo and I gave him above 90 marks. The others didn’t have that image in mind, so their scores were much lower.
When I interviewed him, I felt he had immense potential. Mohanlal’s biggest fortune was getting to be on set for some days before facing the camera. Since we were working with newcomers, I suggested we shoot the scenes in order. That meant Mohanlal, appearing only at the interval, had to be on set from day one, spending 18 days without a single shot.
He closely observed how Shankar and Poornima struggled and improved. He absorbed it all. So, by the time his turn came, he was ready. He understood cinema. He knew how to act. He was flexible and natural. These qualities define him today.
Why did you choose a tragic climax?
I was confused about the climax till the end. I was unsure how to bring the ‘ghost’ into the story. I told my team, ‘Let’s finalise the climax later.’ After shooting many portions, I started to wonder whether the heroine should appear as a ghost, whether the audience would accept it. That doubt kept bothering me. That is how the current climax came to be; it was not something carefully structured or planned from the beginning. We kept exploring different ways of introducing the ghost from somewhere! And that is how the brutal climax eventually took shape. I believe the emotional intimacy built up until that point made the audience accept it.
Music remains one of the most memorable aspects of the film. How closely were you involved?
I have always been involved in the music production of my films. Even back in my drama days, I had a strong interest in music, especially melodies. But for Manjil Virinja Pookkal, I also felt it needed at least one peppy number. That is how we got ‘Manjani Kombil’ (hums). Then there’s ‘Mizhiyoram’ (hums), and ‘Manchaadi Kunnil’ (hums). Somehow, the pattern carried over into all my films.
Is there any plan to re-release a restored version of Manjil Virinja Pookkal?
That’s where the problem with things like bell-bottom pants comes in… they are so outdated! No matter how old a film gets, people should still be able to enjoy it.
Also, language is tricky. It keeps evolving, with new words constantly replacing old ones. In Manichithrathazhu, we used widely spoken, colloquial Malayalam. But in some films, the slang can feel very temporary. In the case of Manjil Virinja Pookkal, I am not sure about the language either. Another thing is, even today, when I rewatch it, I feel we could trim about 15 minutes. That’s why I would not recommend a direct re-release. If at all, it should be a re-edited version. But there are no such plans right now.
