Mohanlal is a superstar in every sense of the word. His aura transcends the tinsel town in God's own country and is almost all-enveloping.
The soon-to-be 65-year-old star has spent almost 40 years as the Empuraan (Emperor) of Mollywood – a rise that many believe began with the 1986 film Rajavinte Makan (The King’s son). Cut to now and, for some, he has suddenly become the Empuraan of self-inflicted (censor) cuts.
Mohanlal in his statement explaining the decision to excise some portions of his latest film said: "It is my responsibility to ensure that none of my films spread animosity toward any political movement, ideology, or religious community."
On Tuesday came the news that even the antagonist's name has been changed.
Why did a star of his standing who calls cinema "make belief" and his team have to go this far now is a topic of raging debates among Malayalis. Was there pressure from up above? Many are wondering.
After all, like the superstar underlined in his message: "For the past 40 years, I have lived my cinematic life as one among you. Your love and trust are my greatest strengths, and beyond that, there is no Mohanlal." With that backing, he could have stood his ground.
Such indeed has been the love and adoration for the star that Manjil Virinja Pookkal's sadistic villain (his debut role in 1980) has transformed into Kerala's very own Lalettan. If anyone can get away with anything in a film in Kerala, it has to be Mohanlal. And yet we have this decision to grapple with.
The Rajanikanth of Malayalam movies – might be just a little more
According to media theorist Richard Dyer, celebrities are not simply talented individuals, but rather commodities manufactured by media institutions for profit.
Dyer argues that these institutions carefully craft a star's image, imbue them with a unique selling point (USP) that sets them apart from other celebrities and make them resonate with a particular audience demographic. This manufactured image often portrays the star as a relatable figure, experiencing emotions that mirror the audience's own, which in turn fosters a sense of connection that ultimately serves to sell even products endorsed by the celebrity.
This theory is applicable to all stars from all walks of life, and in India, it is exclusively applicable to those in Cinema and Cricket. The only difference is that, here movie stars and stars from the crease enjoy statures equivalent to those of Gods. Fan-following in India is too aggressive and eccentric that, social influencers like movie stars can create ripples in politics and rewrite the country's destiny. Let us not forget that states like Tamil Nadu and Andhra Pradesh have seen Chief Ministers who have risen from the cinema field.
But then there are exceptions like Rajanikanth and Mohanlal, two personas, who unlike the usual stars have soared to occupy their pedestals despite foraying into commercial mainstream cinema as arch villains.
For Mohanlal, his entry into the mainstream world was in the year 1980 through the then new generation experimental movie Manjil Virinja Pookkal. (His debut Thiranottam, made in 1978, was only released in 2005 in a single theatre). Since then, he has been evolving -- as an actor, producer, singer and finally a director.
Though both Mohanlal and Rajanikanth have had several ups and downs in their careers, they still remain crowd-pullers and the pivots of South Indian Cinema. Between them, the one thing that differentiates Mohanlal from Rajani is his masterly acting – appreciated not just by Rajani himself, but also by Kamal Haassan and top actors from all film industries.
It should be noted that despite the many controversies, Mohanlal’s Prithviraj-directed L2: Empuraan's biggest achievement may have been to revive the trend of fully-packed shows from 8.00 am to 11.30 pm across all releasing centres. The New Indian Express itself had run a story on this -- undoubtedly a first-of-its-kind in Kerala in recent times.
No other movie has also earned this much of pre-booking and set new standards for professional marketing – a glowing testament to the starpower of Mohanlal and of what the movie's prequel Lucifer had achieved.
Though, the movie's narrative is no different from that of say Bhadran's Yuvathurki (1996) or Shaji Kailas' Ekalavyan (1993) when it comes to criticising political sects, Mohanlal chose to apologise to the public after deciding to make the 'voluntary' cuts.
This should be seen as a gesture to retain his credibility and as a mature and intelligent reaction to salvage both Empuraan and his image. Cinema is the be all and end all of it for Mohanlal and he doesn't want anything to come in the way of his passion for his craft.
Understanding Mohanlal and the love Kerala has for him
The drive he has for medium has seen him become the fans' Complete Actor. That title is a deserving accolade.
An organic and extremely natural actor, Lal believes in letting the director have the say. Mani Ratnam once quoted him explaining his technique: "I am like a goalkeeper. You kick the ball one way, I will dive in that direction. You kick it the other way, I will dive following it."
He possesses the rare quality of slipping into character the moment the word 'action' is said and leaving the character as soon as the director calls 'cut'! That is why, none other than veteran MT Vasudevan Nair, the late and legendary writer director, called him the 'Personal Pride of Malayalees' at a public function at Mumbai.
The most famous of critics and artistes have hailed him for his refined acting, where even "his fingertips and eyelashes add nuances".
As theorised by Dyer, not many actors are transformed to stars or mega stars. What then might have been the reasons that have made Mohanlal such a big star around whom the Malayalam film industry still revolves? What has made him such a big influencer that even the Indian Army as well as the Government depend upon him to endorse many of its initiatives? What may have been the reasons he has been emerging successfully out of every pitfall and controversy that he has encountered during his 45-plus years in the industry?
There are a few reasons that serve as answers to all these questions:
1. Mohanlal's acceptance as a brother-next door by the youth, kids and women.
2. His caring and selfless lover image that he has cultivated on screen from early into his career.
3. The image of a much-sought-after husband that he created through his many portrayals.
4. A non-chocolate appearance and extremely informal body language and his subtlety in acting, dancing and performing action sequences.
5. The common-man image that he had created through the movies of directors Satyan Anthikkad and Sibi Malayil.
6. The macho action-hero image he created mid-career through the movies of Shaji Kailas and Renji Panikkar.
7. The willingness to support and undertake genuine and sincere productions like Vanaprastham that went on to win Malayalam cinema many national and international accolades.
8. His versatility in performing classical artforms like Kathakali with great masters from the respective fields and his ability to sing songs and perform admirably in song sequences as well.
9. His willingness to undertake any amount of hardship to ensure the perfection of his movies and his ability to make any character convincing.
10. His down-to-earth professional approach to cinema.
All these factors have played a role in ensuring the undisputed stardom of Mohanlal, which is reflected in the very name Lalettan that has been lovingly bestowed upon him by fans ranging from the old to the young. Such an 'ettan' privilege has only been reserved by Malayalis for the legendary singer K J Yesudas.
Mohanlal's dedication to his craft is evident in the numerous National Film Awards adorning his shelf.
His commitment extends beyond acting, as demonstrated by his work in the film Bharatham (1991) that won him the National Award for the best actor. Here, he donned the hat of producer too.
Another instance of his dedication to pushing boundaries is Vanaprastham (1999). This visually stunning film by Shaji N Karun delves into the emotional turmoil of a Kathakali dancer ostracised due to his caste.
Mohanlal's layered and heartbreaking portrayal of Kunhikuttan garnered him the National Film Award for Best Actor, while the film itself received the award for Best Film (Producer).
Mohanlal's versatility as an actor was further solidified by his 2017 Special Jury Award (shared).
His record when it comes to the Kerala State Film Awards, the highest honor in Malayalam cinema, is remarkable too. Amongst his numerous accolades, the most prestigious is him being a six-time Best Actor. These awards showcase his mastery in portraying diverse characters.
He has breathed life into layered individuals like the conflicted protagonist in Kireedam and the wheelchair-bound aging husband in Blessy's Pranayam.
He has also gained recognition for the films he produced, like the critically acclaimed Kaalapani. Mohanlal's collection of Kerala State Film Awards stands as a testament to his enduring contribution and influence on Malayalam cinema.
While Malayalam cinema remains Mohanlal's primary focus, he has also ventured into other Indian film industries. He has showcased his talent in Tamil films like the critically acclaimed Iruvar (1997), where his character was based on MG Ramachandran.
He has delivered powerful performances in Hindi films like the crime thriller Ram Gopal Varma's Company (2002), Aag (2007) and Telugu films like the action drama Janatha Garage (2016).
These forays into other languages demonstrate Mohanlal's desire to explore diverse narratives and his ability to transcend language barriers with his captivating performances.
Mohanlal and Vijay, the reigning superstars of Malayalam and Tamil cinema respectively, have come together for only one on-screen collaboration: the 2014 Tamil film Jilla. Mohanlal and Kamal Haasan shared screen space in the 2009 Tamil film Unnaipol Oruvan, a remake of the 2008 Hindi film A Wednesday! He had a cameo in the Nelson Dilipkumar directed Jailer (2023), alongside Tamil superstar Rajinikanth. These roles highlight his enduring appeal and the respect he commands across industries.
Mohanlal holds a record for recording the maximum number of film songs not only for the movies in which he has acted, but also for movies like Kannezhuthi Pottumthottu directed by TK Rajeev Kumar. He has so far rendered 52 songs across several movies in Malayalam.
He was also the star who gained Malayalam Cinema an entry into the Rs 50-crore club and then went on to establish it there through his movies like Oppam, Pulimurugan, Drishyam and Lucifer.
It is an undeniable fact that, the maximum number of research books ever based on a film actor in Malayalam has come out on him. He himself has penned a few books and written a few columns too in Malayalam on various subjects and his monthly blog that he writes in his own handwriting is much followed for its sincere and open responses to contemporarily relevant social issues. He has been leading the Association of Malayalam Movie Artists for many years as General Secretary and President.
Apart from movies, his urge for acting landed him on the stage, doing plays too. Mohanlal's professional stage debut came in 2001 with the Sanskrit play Karnabharam directed by Kavalam Narayana Panicker. It depicted the mental agony of Karna, a character from the Mahabharata, on the day before the Kurukshetra War. This marked a significant departure from his usual film roles and showcased his willingness to explore different artistic mediums.He has also paired with Mukesh in a play based on the Mahabharata named Chayamukhi that got staged across the state and outside.
The iconic actor has been bestowed with two of India's most prestigious civilian honors: the Padma Shri in 2001 and the Padma Bhushan in 2019. These accolades stand as a testament to his exceptional contributions to Indian Cinema.
So, will all these achievements and his undoubted talent and the love he commands help him tide over the controversies that could come lashing at his doors in the coming days? Of course, but it will be interesting to see if or whether there will be any further reactions from him to this new flare-up in his stellar film career.
