From humble beginnings as a junior artist in Malayalam cinema in the ’90s, Joju George has evolved into a powerhouse presence in south Indian films. With a string of critically acclaimed roles and box office successes under his belt, Joju has seamlessly transitioned from actor to producer, and now, celebrated director with his debut film.
In a conversation with TNIE, Joju opens up about his struggles, his perspective on success, and shares his thoughts on a range of topics.
Excerpts
You’ve had a remarkable journey, finally becoming a pan-India figure working with legends like Kamal Haasan and Mani Ratnam. How do you assess that?
For me, art is a means of survival. Coming from a village, I started visiting film locations in 1994, but my first dialogue in a movie came only in 2000. Those six years were a learning curve. I knew nothing about the medium. At each stage, my focus was on making it through. My desire for success stems from the realisation that existence is tied to success. I’m still learning about cinema and haven’t reached a point where I can work comfortably. Even now, I’m figuring it out.
Does anyone in your family have an artistic background?
I believe anyone who can communicate an idea is an artist. So, in that sense, everyone in my family is an artist. Growing up in a strictly orthodox Christian background, my days began with beautiful devotional songs and I was actively involved in cultural activities organised by the Church.
You’re a typical Thrissurite in many ways. How much has Thrissur influenced your character?
Enormously! From food to festivals, Thrissur’s culture has had a massive impact on me. Its vibrant festivals, temples, and churches have shaped my personality. The people there are energetic and passionate, which sometimes leads to clashes. I’ve grown up witnessing intense fights during festivals, but what’s interesting is that these same people are on good terms throughout the year. Come festival season, and they’re out to settle old scores!
Given your difficult beginning, did you ever consider leaving the film industry?
Actually, yes. After I had twins, my wife suggested that maybe I should now prioritise family. That was a time when I was actually happy with the success of Pullipulikalum Aattinkuttiyum. I thought about what she said. For nearly three months, I planned to explore other options and even considered migrating. But then, the opportunity to work in Rajadhi Raja came along, and everything changed. There was no looking back after that.
Did your family support you throughout your struggles?
I’ve always taken care of my family, working multiple jobs to provide for them. Director Lal Jose, who has witnessed my hard work and dedication, once said he has seen me doing odd jobs and business. I took care of my parents and family, convinced them that things would get better, and they trusted me.
How did Joseph come about?
At the time, I was comfortably established as a character artist, receiving good pay and a steady stream of offers. Although I was getting some lead roles, they weren’t particularly exciting. One day, M Padmakumar called me and asked if I’d be interested in playing the lead in Joseph. I asked if he was confident about the project, and when he said yes, I agreed. As the project progressed, I also took on production responsibilities, leveraging my experience of working on films like Udhaharanam Sujatha and Charlie.
Can you share your experience working on ‘Iratta’, which received praise even from Kamal Haasan?
Frankly, I felt my performance in Iratta was just normal. But I do prepare thoroughly before doing any film. Despite positive reviews, the movie didn’t do well in cinemas. However, it found success on OTT platforms and received appreciation from other industries, including Bollywood. (Actor) Nassar was the first to call me, and Mani Ratnam invited me to the Ponniyin Selvan 2 function after the movie’s success. Iratta helped me land a role in Thug Life. Kamal Haasan’s appreciation means a lot to me... it’s the biggest reward. Playing a double role was challenging, and I drew inspiration from Kamal sir’s work. I feel there was still room for improvement in one of the characters. I never thought it would be a milestone in my career.
Given your roots, it’s no surprise that your directorial debut, Pani, is a quintessential Thrissur package. Was it part of the plan?
Honestly, I was only able to execute about 60% of my original vision for Pani. I designed the film based on my knowledge and experience. Some people have criticised the story, but I believe cinema is more than just a narrative. I was meticulous about the quality of my craft and was willing to go to great lengths to achieve it. We did 34 takes for some scenes, which is remarkable given my own impatience. While I may not have achieved perfection, I aimed to ensure the film met a certain standard to stand out.
You mentioned showing the film to Mani Ratnam and that he had a suggestion...
I showed the film to both Mani (Ratnam) sir and Kamal sir. But the first person I screened it for was Joshiy sir. When the film was about 60% complete, I sought his feedback, and it proved valuable. Later, I showed the full version to Mani sir and Kamal sir. Interestingly, both of them pointed out that a scene I had removed would have added value to the film. I took their suggestion and reinstated the scene, which synced well with the rest of the film. After re-editing, I showed it to Karthik Subbaraj, who suggested another possibility, leading to one more round of editing. That version ultimately became the final cut.
Do you think Pani didn’t get the recognition it deserved?
Many top directors, distributors, and producers from the Tamil industry appreciated the film, saying it should have done better at the box office. Perhaps it’s destiny, but I believe our system played a role. Some people find it difficult to accept my success, having seen me struggle as a junior actor earning `50. Now, my salary is significantly higher and it’s hard for them to digest that fact. The film was a labour of love, with 18 edit versions. It was a huge risk, with a big budget and newcomers. But I’m grateful it paid off. Had it failed, my career would have taken a massive hit. I invested two years of my life and `18 crore. I feel it deserved more appreciation.
Did people close to you hesitate to appreciate the film?
Don’t you think the movie would have received a better response had the director’s name been different? That’s worth considering. As for the controversy with a reviewer, it’s disheartening that no one stood up for me. And the media didn’t give me a chance to share my side of the story.
The villain in Pani was particularly intense and memorable. Have you ever met such a person in real life?
I haven’t met anyone exactly like that, but I’ve encountered many people with that shade of personality. I’ve seen people committing grave crimes over trivial matters. The character in Pani reflects that mindset... someone who doesn’t care about consequences.
You are known for your action sequences. How much do you enjoy doing action scenes?
For me, action scenes are an extension of acting. I focus on the context, characters, and overall scene dynamics. Before performing an action sequence, I consider all these factors. When Joshiy sir cast me in Porinju Mariam Jose, I was surprised and had to rise to the challenge of doing an action sequence. The scene was shot in my hometown, with around 3,000 people watching, which added to the pressure. But I grew up watching fights. So it was easy for me...
Have you encountered a fight in your real life?
I’ve been beaten up and I’ve beaten up others too (laughs).
There’s a general perception that violence is increasing in films...
Violence in cinema is a reflection of what’s happening in society. People are getting bored with routine narratives. And they are in fact enjoying intense content. But if we’re asking whether films are influencing real life, I’d say look around. The reality is far worse. While researching for Pani, I came across incidents that shook me. In one, a six-year-old was stamped to death near my own neighbourhood.
Now, which film do we blame for such brutality? We’re living in a time when violence is embedded in everyday life. In this context, I strongly believe the police need to take tougher action. The respect and fear that people once had for the police have eroded. Today, criminals show no remorse. They live comfortably in jail, eating chapatis and chicken, while schoolchildren are served kanji (gruel) and cereal. Harsh as it may sound, I believe such criminals should be dealt with firmly, even eliminated. Whether that belief is right or wrong, I don’t know.
Talk is that Joju’s movies are dark. How do you view that?
(Laughs) Some people call me ‘Depression Star’. Such comments were made on stage too.
Do you feel you are being typecast? Time for a makeover?
As an actor, I yearn for different characters. We can work only on projects we get. I played the role of a policeman in all three movies (Joseph, Nayatt, and Iratta) that brought me appreciation. I’ve played many humorous characters in the past. I accept comedy roles based on who the project’s creative head is. For any project, director and script are important.
Films like Madhuram have explored your romantic side. The romantic actor in you has a huge fan following, especially among women. Are you aware of that?
(Laughs) Yes. I’ve had my share of personal experiences where love didn’t work out. But ironically, I find satisfaction in playing romantic roles, giving it my all (laughs)!
How many people did you romance in real life?
(Smiles) I’ve felt drawn to many people, but I think that’s because I’m someone who appreciates beauty in all forms... whether it’s a stunning car or a person. I don’t just see things as objects, I admire them with respect. The same goes for people... I’ve admired both men and women for their qualities, and I value their friendships deeply. To me, life is about nurturing meaningful connections, not just romantic relationships.
You worked with Lijo Jose Pellissery in Churuli. How was the experience?
I acted in Churuli spewing expletives after being told that particular version would only be sent for awards. However, the same was released in cinemas. Now, I’m the one suffering the backlash. Do you know that there is another version of Churuli without expletives?
Did you ask Lijo what happened?
Well, informing me about it would’ve been good. I haven’t received any remuneration for that film. I’d been upset about all that and I did convey my reservations to the producers. Nobody called me to enquire about it. Though I live in a place where people are comfortable with using expletives in every other sentence, the movie generated a negative response. I had to weather that.
What’s your political stand? Some branded you a ‘Leftist’ because you protested against the road blockade caused during a Congress march…
That incident was just a moment in my life. It had nothing to do with politics. Apart from those who were physically present there, nobody really knows what actually happened. My politics, my dreams, and my passion are rooted in cinema. I have no deep connection to alcohol or drugs either... they don’t play any part in my life. I believe the party that works for the welfare of people should be in power. I support seeing more good leaders stepping into politics.
You once spoke about a lack of support in Malayalam cinema. You used the word “misunderstood” at the time...
The atmosphere we’re working in isn’t healthy. Ideally, if things were better, people would either acknowledge the work or at least support each other. But that isn’t how it is. There’s a saying that when artists begin to fall, society follows. I believe I’m doing my best. And when I come across a good actor or a good film, I make it a point to reach out. I know how hard it is.
In your interviews from eight or nine years ago, you had a certain lightness. Now one gets a feeling you are under a lot of pressure…
That’s right. Maybe because now I’ve so many responsibilities.
Is it the burden of success?
I don’t know. In any relationship, the complaint often is that ‘you can’t understand me’. The same way, much of the audience loves and supports me, but in certain areas, you’ll be misinterpreted and things start moving in a completely different direction. I don’t know if it’s a product of success. I’m uncomfortable with that. That discomfort is the weight (pressure) I feel.
Have you been able to enjoy the success?
Well, when a crisis follows a success, you don’t get the time to enjoy it for long. Nor the time to think about success. That’s my life. I haven’t been able to cherish or enjoy any of my successes. So I see this as part of survival. That’s the plain truth.
Hard to believe…
I am speaking the truth. This is a continuous journey. For instance, if we are climbing the 18 holy steps, and we reached the 10th one, there is the 11th one to climb and all your thoughts will be on that. You just can’t enjoy climbing the 10th step. We have to survive, right? I’m not in a space where I can celebrate
successes. Now I have to do the next project, and my thoughts are filled with how I could act better, write a better script, and the like. Otherwise, my career would have ended with Joseph. It was my biggest success.But it has given me responsibilities too.
How do you view criticism?
I’m open to constructive criticism. But I don’t tolerate random criticism raised by people who have no knowledge. I’ve been open to criticism, and that’s how I built my career. But baseless or malicious criticism often reflects personal agenda. That kind of negativity is hard to accept.
Your bond with Mammootty is well known. How did that begin?
I first saw Mammookka closely during the shoot of Dada Sahib. He’s someone who observes everything and everyone around him. Initially, my only interactions with him were saying “Good morning” and “Good night”. I used to stand near his car just to greet him. Yet, even at that early stage, he recommended me for various projects. I’ll never forget the incident during the filming of Rajadhi Raja when I couldn’t get a scene right. Mammookka quietly took me aside and explained how to approach the role.
It’s also said you’re a big fan of Mohanlal...
Who in Kerala isn’t a fan of Lalettan? Our cinematic culture is rich, and I’m a product of that heritage. I grew up watching great actors like Mammookka and Lalettan in films by Padmarajan sir and Bharathan sir. They shaped my taste and my sense of storytelling. Initially, I was just a fanboy. Gradually, I began to study their characters in depth.
Any plans to direct a film with Mohanlal or Mammootty?
I wish to. Speaking from a director’s angle, we need a quality script to do a film with either of them. When I get a good script, and a plan, I will approach them. I once shared a story with Mammookka. After listening, he told me I have good script sense. I was happy with the compliment even though the project didn’t work out. I realised my thought process was right.
From the outside, you come across as a sincere and straightforward person, someone people might describe as innocent...
I wouldn’t say I’m all that genuine. I’ve been through a lot in life, and my journey has shaped who I am. I’ve seen my share of tragedies, sadness, and sorrows. I grew up surrounded by those experiences. And because of that, I’ve come to believe that only when I am good as a person, my art will be good. Often, I have to bring to life characters who are innocent or full of love. Of course, we can act out those qualities. But there’s something more important, and that is feeling it genuinely.
So, basically, an artist should be a good human being...
That’s what I believe. I feel if we behave in a simple and honest way, we can avoid a lot of complications. That’s just how I see it. Even if I try to be a good human being, some people might see me as a bad person while others think I’m good. As for me, I believe I am a good person.
TNIE team: Kiran Prakash, Cithara Paul, Rajesh Abraham, Rajesh Ravi, Vignesh Madhu, Vivek Santhosh, Harikrishna B A Sanesh (photos) Pranav V P (video)