Mammootty and the depth of emotions

Unnikrishnan - Yathra (1985)
Mammootty’s ‘Yathra’ is perhaps what best show-cased the director’s actor, that he always claimed to be. It follows the story of Unnikrishnan, who is mistaken for another criminal lookalike (whose photo only is shown), and suffers police custody, and atrocities there in. The visual poetry by Balu Mahendra, is exemplified by an assuring performance by an up and coming actor, Mammootty. As an disciplined student, he puts himself inside the framework of the auteurs imagination. As one watches the helplessness of Unni at the hands of police, or him reminiscing the memories of his beloved when one of jail-mates hum a lilting melody, intensity in his eyes or the timing of reaction, to other performers, led every cineaste to realize that here is an actor to watch out for.

Inspector Balram - Aavanazhi (1986)
A story inspired by the Rajan Murder case. Mammootty appears as the firebrand, brutally brash inspector Balram. The man, who lost his love, dignity and stature now carries thorough-bred contempt for the system and society. A power packed performance, in a film that captures the social situation of the times brilliantly. This movie and the character are perhaps the most memorable depiction of police in malayalam movie history. Probably, one of best in Indian film history too.

GK- New Delhi (1987)
When Joshy adapted Irving Wallace’s ‘The Almighty’ into malayalam, Mammootty was perhaps the only choice he would have ever dreamt of. The young effervescent G Krishnamoorthy and the majestic, cold blooded ‘Vishwanathan’ was a plum role for any actor trying to establish his stardom. Mammootty performed his way to superstar-dom, without gimmickry or banality of any sorts. Vishwanath/GK was a character that, was incessantly brooding and plotting. The inclined actor that he was, lived the role and every moment when the handicapped GK appeared on screen, appeared with a gleam of viscious scheming that were emanating from his eyes and body language.

Balan - Thaniyavathanam (1987)
A heartbreaking tale of society dictating our life. A kafkaesque tale, dealt with a more narrative and dramatic perspective. One of Lohitadas’s initial few scripts, deals with a school teacher , Balan Master or Balan Mash (in anglicized malayalam), who wakes up dreaming a nightmare. The closely knit extended family of his, houses an uncle, who became mentally ill after a similar nightmare long before. The family and village declares Balan, as the hereditary carrier of the ‘Madness’ gene. Balan’s actions are scrutinized and fitted to those of a lunatic. An unwary Balan, by the time he realizes, what the society has done to him, ends up losing his wife and children.
In 1987 Mammootty appeared in two other exceptional performances in ‘Manivathoorile Aayiram Shivarathrikal’, a breezy romance and ‘Anantharam‘ , an Adoor Masterpiece.
Subsequently, in 1988 he appeared as Sethurama Iyer for the first time in ‘CBI Dairy Kurippu’. There were stories floating of CBI department officers, coming in official hordes for a special show. The portrayal of no-nonsense and dignified CBI officer, earned unprecedented box office success. He also appeared in ‘August 1′, a thriller and ‘1921′ , a period drama about Khilafat agitation in Malabar.
Even after these exceptional performances over several years recognition evaded the master actor, but not for long

Chandu, Oru Vadakkan Veeragatha (1989)
A magical literary work by MT and lyrical execution by Hariharan, bought to life one of the greatest characters to grace Indian screen, Chandu Chekavar. An immortal performance, which would definitely be a part of any malayali’s mind-space until death and beyond. Mammootty along with scriptwriter, Jnanpith winner MT Vasudevan Nair and director Hariharan, transport us to yonder years, where fief-doms dueled out their differences , with the help of ‘Chekavars’.The actor became the character, and the character came to life. There was no Mammootty any more, it was two and half hours of Chandu, and his majestic presence.

Basheer, Mathilukal (1990)
Mammootty has been one of Adoors favorite muse. He appeared for the second time in an ‘Art’ film by Adoor Gopalakrishnan and art it was. The film explored the prison life of the prolific writer Vaikom Muhammad Basheer, in British India. Basheer’s pastime and love interest is a voice, of a female jail mate from across the walls, ladies prison. The narrative relies on Mammootty’s expressive voice and subtle body language, which is supported by KPAC Lalithas inimitable vocal presence.
Mammotty won in first national award in 1991 for Mathilukal and Vadakkan Veergatha combined, long overdue and each one of these performance deserved separate accolades on their own.

Kottayam Kunjachan, title character (1990)
If Mammotty was limiting himself to drama primarily, and serious cinema every now and then, it was time for some comic relief. Kottayam Kunjachan was the most lovable achayan (Keralite Christian) character to appear on screen. Kunjachan , a goon, upon insistence from a church priest, ends up starting a Motor Vehicle Driving School and calls himself Proprietor and Principal of the school. Exceptional performance, when one realizes it came from the same man who immortalized Chandu and Basheer just a few days ago. This is versatility for you, all in full length Kottayam slang.

Achooty, Amaram (1991)
Talking of dialects, Mammootty is perhaps the most prominent in ensuring that his characters use locality specific slang and dialects. He modulates his voice to suit the dialect and brings in the whole audio visual impact that completes the character. In Amaram, artistic autuer Bharathan cast him as the fisherman, Achooty. Achooty has no one but his daughter, whom he wants to grow up to be a doctor. She falls in love with her childhood friend, a fisherman with no education whatsoever. Mammootty, is caught between his parental ambitions and choices of his child. The heartbroken Achooty, settles down for his childs wishes at the end, but not before enthralling us in a emotional whirlwind. A performance which deserved the national award, but lost out to Mohanlal’s ‘Bharatham’.

Puttu Urmees, Soorya Manasam (1992)
Mammootty took up the role of Puttu Urmees, a man with the mental growth of a child. Even though, the film was a commercial cliched entertainer, the actor lived upto his set standard with the help of voice modulation and body language.
Meledathu Raghavan Nair,
Valtsalyam , meaning dearness, was a Kochin Hanifaa family drama. It portrayed the story of the all sacrificing elder brother of a family. Mammootty excelled as Raghavan Nair, with his effortless representation of the simple minded farmers naivety and integrity alike. The trick, as always, lay in the details, body language, appearance, dialect, voice culture and emotional expressiveness. An acting lesson for wannabees.

Bhaskara Patelar, Vidheyan (1994)
Adoor came calling, now it was the role of a Kannadiga landlord Bhaskara Patelar, a ruthless despot. The exploits of Patelar, who is accompanied by his servant Thommi, makes up the framework for Vidheyan. The Patelar is as cruel as man can get, he gait is that of a tiger ready to prowl on its prey, and eyes are that of a cunning fox. The man explodes with arrogance and remorselessness as the naive and timid Thommi looks on.

Ponthan Mada, Title Character (1994)
As if preplanned, Mammootty landed at the other end of the personality continuum, when he played Ponthan Mada, in TV Chandran dark drama. Ponthan Mada was a character akin to Thommi of Vidheyan, he is a servant to the generous landlord played by Nasseeruddin Shah. He astounded one and all, by playing yin and yang personalities in two back to back features. A feat that rattles and exalts any cinema audience, and instills the magic of this thespian.
He was awarded his second National Award for both Vidheyan and Ponthan Mada together

Ravishankar, Sukrutham (1994)
He teamed up again with his guru MT Vasudevan Nair, whose script on the meaning of life and death was explore in the amazing and hard hitting film. Sukrutham, traces the story of a newspaper editor, Ravishankar, who is diagnosed with a terminal illness. As doctors instruct him to get ready for the final journey, he prepares for his departure. Ravishankar, comes across as a de-motivated man, facing death, during the initial parts of the film. Everyone around him, his wife, relatives all prepare for life after Ravi’s death, and that is what he wants. But destiny, comes in the form of Naturopath, who claims to cure him. After a long and slow cure, Ravi returns back to his life, just to find that he is a misfit now. All around him have learned to live assuming he is dead.
The heartbreaking tale, and an exemplary performance. Watch out for the scene when Ravi returns back to his office fully cured.

Vidhyadharan, Bhoothakannadi (1997)
Bhoothakannadi is a surrealistic film, about the effect a personal tragedy can bring to the psyche of an Individual. Vidhyadharan is imprisoned for killing the suspected rapist/murderer of his teenage daughter. He starts to have visions, about a hapless destitute family suffering a similar tragedy as his. Vidhyadharan, is a timid and simple individual whose undergoes a traumatic experience and carries with with him as an illusion. Mammootty, seasoned as old wine executes of the complex character with consummate ease.

Dr.Babasaheb Ambedkar, Title Character (2000)
Mammootty trained himself in the ‘received accent’ English for his performance as Dr.Ambedkar. His in-depth analysis and subsequent elicitation of the character on the screen earned him the National Award for the third time.

Madhavan, Kaazhcha (2004)
Madhavan plays a travelling cinema operator , who cares for this wandering boy, of unknown origin and brings him home to his family. On investigation, they realize that the boy is from Gujarat, somehow lost after the great earthquake. So Madhavan takes it upon himself to return the boy to Gujarat to his hometown and family. The kind hearted, and polite Madhavan is embodied by the bowed down body language and the expression of bewilderment that Mammootty carries on his face throughout the potrayal. A genius at work

Rajamanikyam , title character (2005)
If Madhavan was polite and kind, Manikyan was loud, hilarious and unkempt. This cattle dealer from Bellary wears a green kurta, yellow ungi , sports Ray Ban shades, travels in a Red Merc and speaks in the most outlandish Trivandrum slang. The biggest grosser in Malayalam Cinema, Rajamanikyam is a laugh riot. Mammootty rediscovers himself as on of the funniest actors around. An incredible display of artistry.

Balachandran, Kaiyoppu ( 2007)
If Bellary Raja was riotous, Balachandran was an intellectual, a writer waiting to get himself published. Mammootty ceases to exist five minutes into the film, Balachandran takes over. A class act.

Dr. SR Nathan, Ore Kadal (2007)
Nathan, is perhaps the most prolific potrayal of a character by any Indian actor in recent times. Mammootty appears as the swaying, staggerring , enigmatic Professor of Social Economics, who values anything and everything in economic terms. He detests poverty, hates relationships and attachements, views any attraction towards women as a physical impulse. When such a personality clashes against the dreamy, emotional and innocent love of Deepthi, Meera Jasmine, its catastrophe. One of the best films ever made in India, with superb performances from the lead actors.
There have been several omissions to the laundry list of brilliant performance by this actor. Notable ones being Dhruvam, Athirathram, Dalapathi, Inspector Balram, Palunku, Koodevide, Kanamarayathu, Pappayude Swantham Appos, August 1, Yavanika, Adiyorukkukal, Mithya, Mudra, Kandukondein Kandukondein, Marumalarchi, Mrugaya, CBI Dairy Kurippu series and the list extends.
Just for a sample of why this man is great, a scene from Kathaparayumbol, the inspiration behind Kuselan and Billo Barber. If the language is know, it will moisten your eyes and even if you dont understand a single word of the language, simply his expressions might move you.