INTERVIEW | 'If I return as an actor, it should be for something exciting': Actor Jelaja
She's an actor with a unique distinction in Malayalam cinema. Having worked with iconic directors and actors, including KG George, G Aravindan, Adoor Gopalakrishnan and Bharat Gopy, Jelaja has left an indelible mark on art, commercial, and parallel cinema alike. In a chat with TNIE, Jelaja, who made a comeback after almost three decades, opens up about her entry into cinema in the 70s when acting in films was more of a taboo for the middle-class, her favourite films and characters, the transformation that Malayalam cinema has undergone over the years, and women's safety on movie sets. Excerpts
You have the rare distinction of working with the best creative and artistic souls in Malayalam film industry...
I would call it a blessing. Whether in parallel, art, or commercial cinema, I have been very lucky to work with stalwarts like Adoor sir and Aravindan sir. I did K G George sir’s ‘Ulkadal’ and then he called me for ‘Yavanika’. Actress Rohini, a good friend of mine, recently told me she envied me as I could do good films with great directors. While doing those movies, I never thought they would attain cult status, be part of film festivals, or bag national awards. Even today people speak about Padmarajan’s films. They find new perspectives in them.
You began your career at the end of the 70s. Those days, there was a general feeling that women from “good families” don’t enter cinema...
My family wasn’t too conservative. We grew up outside. Though we followed traditions, we were quite openminded. My parents did not have any problem with me doing films. I too never felt it was something unusual. In my case, it wasn’t thought of as a career. Moreover, the offers that came to me were such. I think, after Sarada, the tag of dukhaputri came to me. ‘Dream girl’ roles never found me; I was always the ‘girl next door’.
You have worked with both Adoor and Aravindan. What was the difference?
Because I worked with masters like them early in my career, my foundation as an actor became really strong. In Aravindan sir’s film, I did not have any dialogue at all. He spoke softly. We had to listen carefully to understand him. He would explain everything in detail, and we would simply do what he suggested. He would tell you where to look, how to glance during close-ups, what kind of expression was needed…
And Adoor?
Working with Adoor sir was different. In his film, my character was present throughout the story. I had to be attentive to every detail. He is a perfectionist. He shows you exactly what to do. When you work with him, you feel that you only need to follow what he says. Everything is carefully designed. With every director, you learn something new. What they tell you is what you absorb, and then portray the character accordingly. I believe I could do justice to the characters given to me.
How was the experience in commercial movies?
In commercial films, the approach is different. If there are long dialogues, there may be prompting or we memorise and deliver. Sometimes, even if we say a slightly different word, they say it’s okay and that it can be corrected during dubbing. But Adoor sir wasn’t like that. Even the slang and pronunciation had to be exactly right. He’d go for multiple takes just to perfect such details. Even if it took ten tries, he never got angry. He would calmly tell you, and make you do it.
How was it working with K G George?
George sir too checked minute details. Both K G George and Bharathan sir used to do that. Bharathan sir used to visualise scene-by-scene. He would make us do exactly how he had it in mind. He had a clear idea of how one should enter, stay, and leave a scene. George sir too. There were a lot of artists in his movies; it wasn’t about concentrating on just one person. All were well-known artists, and comparatively, I was a beginner.
Your experience of working with great actors like Bharat Gopy...
I first met Gopy chettan during the shooting of ‘Thampu’. I was so excited when I saw him… a big moment for me. When I acted with Gopy chettan, it never felt like he was acting. He was simply the character. That gives you the space to give your best in return. Even if the director had already explained everything, during rehearsals or while performing, if we had any difficulty, Gopi chettan would guide us. He was very supportive. When he played the tabla, it was as if he was in a frenzy. He seemed to be an actual tablist. His sincerity encouraged us to do our best.
Can you share some memories during ‘Yavanika’ shooting?
When ‘Yavanika’ comes up during discussions about movies, it feels great. You feel proud to have been part of such a film. Some characters stay forever in people’s minds. ‘Yavanika’ is still considered a masterpiece. That was one movie we thoroughly enjoyed. The drama parts were shot at Priyadarshini Hall in Thiruvananthapuram. We even shot for 24 hours. Mammukka simultaneously acted in another movie in Ernakulam during the period. He would join us at night. The interrogation scenes were shot then.
Other such memorable moments…
Another memory is related to the film ‘Mandanmaar Londonil’. We could meet Richard Attenborough and Ben Kingsley, and take pictures with them, during an event organised by the Indian High Commissioner in London. It was quite unexpected and was a milestone in our lives. Another memorable moment is the invitation I got for the screening of the restored version of ‘Thamp’ at Cannes. It was such an out-of-theblue experience, such an honour in the 44th year of the film. I kept pinching myself and asking my daughter, “Ammu, are we actually going to walk the red carpet?” No words to describe the experience.
Were you the only one to get the invite to Cannes?
Yes, the only actor. Producer Ravi sir was sick and his son Prakash and wife represented him. There was a good turnout at the theatre. There were eight people in our team, including my parents. I cannot express the joy I experienced watching the film after 40 years, in the company of my parents and daughter. There were people from many nations among the audience. The way they appreciated me was truly moving. Over the years, my perspective on the movie has changed entirely. I now see everything from a new angle. Shaji sir’s camera work, the innocence of the people portrayed, the process involved in the cameraman’s craft… all stand out in ways I hadn’t realised back then. Watching the restored version felt like experiencing a brand-new movie.
You mentioned your dukhaputri image. Did that hinder you?
I did many such characters. In some films, the first half would be happy and sorrow would come later. At the time, I never felt I should do certain types of characters or avoid others. I may hence have been typecast. I have not done much comedy. Some films did have lighter roles and I did get to do many good roles. I never realised how certain films, like ‘Yavanika,’ stayed with people. I would call it a divine blessing to have done such great roles. Though I have done several other films, people still know me for my roles in films like ‘Shalini Ente Koottukaari’.
How did you become part of ‘Malik’?
When Mahesh Narayanan called, I thought he wanted to see my daughter as she was also stepping into films. But he said it was for me. He gave me the script. That was the first time I read a full script like that. When I read it, I thought it was such a vast canvas with so many characters and wondered how he would manage it all. I told him I was unsure if I could do it. He told me that he had watched ‘Yavanika’ several times and that he had me in mind for the role. When I went for the shoot in Kochi and put on makeup, it felt like taking a new step. He supported me. But once you start working, the dialogues, the emotions all flow naturally. In ‘Malik’, my character has a certain depth... a powerful and bold character. I thank Mahesh for giving me that role. I’m grateful that he thought of me for that character.
Did Fahadh Faasil surprise you?
He’s such a talented actor. When I served on the jury once, a number of Fahadh movies were part of the competition. In each movie, he was unique.
You enjoyed acting. How difficult then was the decision to take a break at the peak of your career?
For a woman, this is often part of the transition to married life. When asked by the media, I said I wouldn’t stop acting even after marriage. I did receive offers, but it wasn’t convenient. My priorities changed after childbirth. My schedule revolved around my daughter’s school vacations. During interviews, I always said I was ready to take on roles. I cannot say I missed acting... I entered films unexpectedly. I have no regrets about the roles I lost.
Didn’t you ever miss cinema?
I did not, because I was busy with another world. After my film career, things were entirely different. I made friends with people from so many nationalities, learnt new things (after settling in Bahrain post marriage). I wasn’t an ordinary housewife. Had I focused only on cooking or looking after my child, I would have felt some sort of loss. I went for art classes after cooking. When I take my child for dance classes, I meet other parents. I wouldn’t have experienced such things here.
You were quite close to actor Sobha, who later died by suicide...
We worked together for over a month. She was such a happy girl. We had a good share of combination scenes. When we didn’t have shooting, we would go shopping and watch movies. A few months after that, she ended her life. I couldn’t believe it. She was a talented actress. I never had an inkling of what she was going through. If there is any issue in your life, is death the only choice?
You received a state award at a young age. Could you comprehend the magnitude of the honour?
I believe what is meant for us will come to us. Interestingly, ‘Venal’, which got me a state award, was not a film that first came to me; that itself was a bonus. We knew the film had come out well. But, honestly, I didn’t expect an award. When people met me at movie locations, they appreciated my performance. When the awards were announced, I was delighted as it was a recognition of my efforts. Before that, I came to know through a few people that I should’ve received a national award for two other movies, but I lost it due to the intervention of some Malayalis. Even the role in ‘Marmaram’ wasn’t initially planned for me. Those two roles are milestones in my career. I would call it destiny.
You said Mahesh Narayanan gave you the full script. How do master f i lmmake r s explain your characters?
Adoor Sir would brief me about the basic outline of the character, close relations, and nuances, like whether it’s a bold character. K G George sir also works in a similar way. The first director to narrate the complete story to me was Padmarajan sir for ‘Shalini Ente Koottukaari’. After the narration, I was in tears. Others would brief me as someone’s heroine or daughter. I could just about guess the storyline (smiles).
Back then, didn’t artists ask for the script?
We didn’t feel the need to ask because they’d tell us the dialogue or sometimes give prompts. If it was a long dialogue, we’d learn it by heart. Only when we watch the movie in a theatre would we understand the story in its entirety (chuckles).
What then was the scope for improvisation, extempore delivery, suggestions, or additional contributions?
I did get some suggestions in ‘Yavanika’. Artists like Gopy chettan and Jagathy chettan would suggest improvisations. In ‘Yavanika’, it happened because it had such a great cast and was more of a give-and-take. It was a camp where artists interacted with each other. That was one film which had scope for improvisation. In the rest, dialogue delivery was as per the script. We may miss a word or so in a long dialogue but as long as we convey the message, it’s fine. George sir was open to artists’ suggestions on improvisation.
You mentioned actor Sobha. You kept in touch with each other…
How could I? In the case of Venu chettan, I would write letters to him. After spending a month together, I was out of touch with Sobha. We see artists only if they are in the next film that we do. After work, we go back home. I had siblings who kept me busy. Cinema wasn’t everything for me. It was just a profession. I never thought of myself as a star. Maybe that kept me grounded.
In the 70s and 80s, married actresses were not considered for lead roles. They stayed away from films to balance family life…
That’s a fact. In my case, Prakash was very supportive. He said I should act if there are good roles. Mammukka, with whom I acted, is still a hero. In north India, there are a few exceptions. Take for instance, Neena Gupta. We wonder why Malayali actresses don’t get similar roles. Films cater to the masses. I’m sure the masses are ready to accept change.
Many of my contemporaries like Ambika, Menaka, Santhi Krishna are doing films occasionally. But are they getting roles with depth? I have never told anybody that I don’t want to act. I would like to do meaningful characters. After having done many good roles in the past, I feel that if I return, it should be for something that excites me as an actor.
Many senior actresses are doing powerful roles in the industry?
In Tamil cinema, Radhika has done some powerful roles. Urvashi is another extremely talented actress. Films like ‘Ullozhukku’, featuring two brilliant performers, show how beautifully female-centric stories can be told. But such films are very few. Making them is not easy because they have to compete with big commercial films and large-scale releases.
Your take on the Malayali audience...
Today, audiences are exposed to movies from everywhere – pan-Indian films, big-budget spectacles, and international cinema. That’s actually a good thing. Artists also get opportunities to work across languages. But in the middle of all this, if a small film is made, people may wonder whether audience will come to watch it. That uncertainty always exists. It’s difficult to understand the pulse of the audience. Sometimes, simple or even silly films become huge hits. At the same time, artistic films also find their audience. So, one can’t easily judge what will work and what won’t. Ultimately, the audience decides.
You returned to the screen after a long gap. What differences did you notice?
Technologically, there has been a huge change. When I started acting, we usually worked with a single camera, often mounted on a trolley. Now, there are multiple cameras, advanced equipment, and a completely different scale of filmmaking. But acting itself hasn’t changed. The biggest changes are behind the scenes: editing, synchronised sound, spot dubbing, and overall production techniques. Though it’s a relatively small industry, Malayalam cinema has advanced tremendously. Our technicians—cinematographers, sound engineers, and editors—are working at highly advanced levels. When someone like Resul Pookutty wins an Oscar, the whole world watches the talent that has emerged from our small state. That is a moment of pride, not just for Malayalis but for all Indians. Having worked in two different eras of Malayalam cinema, what has changed between then and now? Frankly, it’s difficult for me to compare. After my break, I only worked in Mahesh’s film for four or five days, and did a small role elsewhere. I don’t have enough experience of the current industry.
How do you compare women’s safety in the film industry during your two stints?
I have done just two films after the break. I have never had any bad experiences. Cinema has now become popular and it’s out in the open. People get to know about our personal lives. Bad things happen in every field. Women should feel secure in whichever field they work. If there is such an issue, there should be a system to ensure that it doesn’t happen. Your favourite characters? My characters in ‘Yavanika,’ ‘Shalini Ente Koottukaari,’ ‘Radha Enna Penkutty,’ which was the last black & white film. Acting with Kottarakkara (Sreedharan Nair) in that film was a great experience. Of the current lot of Malayalam actresses, who are your favourites? Parvathy, Nithya Menen, Aparna. From our times, Urvashi. She’s younger to me. She’s somebody who can handle comedy and serious roles with ease. There are many actors in Malayalam now. Most of them are talented. They get good exposure too. Everybody is capable of handling good roles.
TNIE team: Cithara Paul, Anil S, Parvana K B, Aswin Asok Kumar, B P Deepu (photos) Pranav V P (video)