The anatomy of Mammootty 3.0 and how he became a formidable contender even for the younger generation

However, Mammootty’s unquenchable thirst for art drove him to undergo a complete reinvention towards the end of the last decade, making a triumphant return in a manner never seen before. Over the past four years since 2019, his excellence in portraying diverse characters, ability to deeply immerse himself in their nuances, and willingness to explore a wide range of genres and roles have propelled him to unprecedented heights.

Mammootty’s resuscitation, however, is not a new phenomenon. Even in the 1980s, after a series of failures, he underwent a significant transformation and made a remarkable comeback with New Delhi (1987). So, the actor we see right now is Mammootty 3.0.

On the occasion of his 72nd birthday on Thursday (September 7), we anatomise the reinvented actor, his ongoing, intriguing career phase, and how he has adapted to the evolving times and sensibilities.

Back to the roots

After a stretch of three years from 2016 to 2018 that produced 14 films of subpar quality, Mammootty shed his star persona in 2019 and embraced the actor who defined his career. It was in Ram’s Peranbu that he rediscovered himself. His portrayal of a middle-aged single father, desperately attempting to reconnect with his daughter, who has a muscular health condition, was truly remarkable. What stood out was the subtlety with which he inhabited the character, ensuring that his star status did not overshadow any aspect of the role.

For instance, there’s a poignant moment where Amudhavan (Mammootty) tries a range of approaches, including singing, dancing, and imitating animals, to win his daughter’s trust and affection. In this single three-minute shot, Mammootty completely disappears, leaving only Amudhavan. His willingness to go to great lengths and his sense of helplessness are conveyed with impeccable precision. Another scene shows Amudhavan attempting to walk in his daughter’s shoes, empathising with the daily challenges she faces. Mammootty’s ability to communicate well with emotions that flicker across his face showcased his extraordinary acting prowess.

When director Mahi V Raghav revealed his next project would be a biopic on the late YS Rajasekhara Reddy, the former Chief Minister of united Andhra Pradesh, many were surprised by his choice of casting Mammootty, a non-Telugu actor, as the lead. However, Mammootty silenced the sceptics with his remarkable performance in Yatra, centred around a pivotal political campaign tour in YSR’s life. Mammootty’s ability to capture all the intricacies of YSR, with a particular emphasis on the late CM’s emotional and humane dimensions as well as his deep affection for the people, while not compromising on YSR’s commanding nature, truly shone through.

After the Tamil drama and Telugu biopic, Mammootty returned to his home ground of Malayalam and did an action-comedy, Vysakh’s Madhura Raja. Despite the film’s shallow plot and its adherence to the typical mass-hero formula, the film emerged as a superhit, thanks to the actor’s strong star appeal.

Return of the Mammootty we missed watching

Shortly after Madhura Raja, Mammootty joined forces with director Khalid Rahman for the first time. Unda, one of the finest Malayalam films of the last decade, reintroduced audiences to a side of Mammootty they hadn’t seen since movies like Kazhcha, Palunku, and Kaiyoppu. In this film, he portrayed an everyday, ordinary man, shedding the glamorous trappings of stardom. As SI Mani, a Malayali police officer posted with a group of subordinates in a remote area of Bastar, Chhattisgarh, for election duty, Mammootty exemplified his skills.

In a pivotal sequence in the middle of the film, when the cops’ shelter is attacked by Maoists, Mani is rendered almost immobile, paralysed by fear. His inability to respond or move is palpable, and he is embarrassed and uncertain about what has happened. When he recounts this incident to an Army officer, the latter suspects it might have been a minor heart attack. Mammootty’s subtle response here through expressions, combined with fear over Maoists and a possible health condition, is truly remarkable and his portrayal of the vulnerabilities of a middle-aged man facing helplessness is extraordinarily authentic.

In another scene that follows, Mani is seen speaking with his wife back home over the phone. Initially cautious, he discreetly scans the shelter to ensure no Maoists are lurking nearby while assuring his wife that everything is fine. However, as their conversation progresses and he becomes enveloped in the warmth and affection of her voice, he forgets to be vigilant and becomes fully engrossed in their conversation. Such subtleties can be observed throughout his performance in the film.

At the same time, the actor didn’t shy away from allowing others to leverage his stardom for their films to gain attention, as evidenced by Shanker Ramakrishnan’s Pathinettam Padi and Ramesh Pisharody Ganagandharvan.

Although his next two films, M Padmakumar’s Mamangam and Ajai Vasudev’s Shylock, achieved substantial commercial success, they failed to tap into the actor’s potential further and received negative reviews.

In 2021, in spite of the fact that his next films, supernatural horror The Priest and political drama One, caught the spotlight for revealing a more restrained and controlled aspect of his acting talent, their overall mediocrity prompted questions about whether Mammootty was reverting to his previous style.

The blend of the actor and the superstar

Mammootty then made a triumphant comeback and in Amal Neerad’s Bheeshma Parvam, he brought to life an unprecedented gangster character, a blend of ruggedness and swagger. Mammootty’s character Anjootti Michael was created with traces of both Don Vito Corleone and his son Michael from The Godfather. He exuded authority and composure like Vito, effortlessly establishing his dominance with mere glances, yet when the situation called for it, he entered the fray and demonstrated his ability to get the job done, much like Michael Corleone.

A pivotal scene towards the film’s end showcased Mammootty’s power as an actor and superstar. In this scene, Michael confronts a group of rivals, issuing a dire warning about the consequences of crossing his path. The expression Mammootty portrays in this moment is unparalleled, rendering the character truly unique. Fuelled by rage, a devilish smile on his lips, eyes gleaming with moisture reflecting the car’s lights before him, muscles tensed and unwavering despite his henchmen’s attempts to restrain him, Michael signifies his willingness to push the boundaries of evil. This scene encapsulates the many facets of Mammootty’s talent.

The actor’s next project, CBI 5: The Brain, marked the fifth instalment in the iconic CBI franchise, in which he reprised his role as the quintessential sleuth Sethurama Iyer. Despite the film’s subpar quality, Kerala embraced CBI 5 mainly due to Mammootty’s enduring portrayal of this character over the past 34 years.

Raising the bar constantly

In Ratheena’s Puzhu, where Mammootty portrayed an antagonist, we witnessed yet another testament to his acting prowess. It’s impossible to single out a particular shot or scene in this film because he consistently surpasses himself throughout. Mammootty remarkably brought to life a self-righteous casteist bigot, while ensuring that no aspect of the character garnered sympathy or empathy. His handling of Kuttan’s ‘vulnerable’ and ‘innocent’ moments deserves special mention, showcasing his deep understanding of the character while never idealising it at any point.

He raised the bar even higher with the neo-noir psychological action thriller Rorschach. Mammootty skillfully portrayed Luke Antony’s intense thirst for revenge and the profound grief he experiences after his wife’s death, leaving the audiences spellbound.

In Lijo Jose Pellissery’s Nanpakal Nerathu Mayakkam, the actor shattered all his previous performances and emerged as a formidable contender even for the younger generation, thanks to his unreserved and exceptional talent. Mammootty’s portrayal of James/Sundaram is a milestone in acting as he adeptly blurs the lines between reality and fantasy, sanity and insanity, and rationality and irrationality, creating distinct traits and mannerisms for both characters.

The scenes where James and Sundaram take centre stage in crowds stand out due to Mammootty’s effortless and convincing portrayal. Notable moments include the bar scene where he mouths a famous Sivaji Ganeshan dialogue, the impactful “Naan intha oorkaaran thaan” moment, and Sundaram recounting an old incident to the locals, all showcasing his mastery. The numerous close-up shots in the film further highlight his ability to convey emotions through facial expressions.

Although his subsequent film, the action thriller Christopher, pulled him back a bit due to its problematic narrative that glorifies extrajudicial killings, Mammootty remained committed to his character and delivered a performance in line with his evolving acting style of Mammootty 3.0. With upcoming projects like Kannur Squad, Kaathal – The Core, Bazooka, and Bramayugam, expectations are, hence, soaring high.