As Mammootty returns as YSR in Yatra 2, here are three other biopics with his remarkable performances

Yatra was undoubtedly an attempt to completely whitewash YS Rajasekhara Reddy and portray him as the sole empathetic saviour of the masses, completely overlooking the massive corruption accusations against him. Nevertheless, it helped the YSR Congress Party (YSRCP) and its chief YS Jaganmohan Reddy, YSR’s son, in their election campaigns in 2019. And if at all the movie influenced people’s perceptions, Mammootty’s exceptional portrayal likely played a key role.

Now, ahead of the 2024 Andhra Pradesh election, Mahi V Raghav is back with its sequel, Yatra 2, scheduled to hit the screens on February 8, based on the Praja Sankalpa Yatra that Jagan undertook ahead of the previous polls that eventually led him to the chair of AP chief minister. While Tamil actor Jiiva plays the role of Jagan, Mammootty returns as YSR, though his screen time may be limited this time since the sequel focuses on events after YSR’s death in 2009.

Mammootty as former Andhra Pradesh chief minister YS Rajasekhara Reddy in Yatra. (Image: Mahi V Raghav/Facebook)

Nonetheless, Mammootty’s performances in biopics have always worked in favour of the movies and the intent behind them, as the actor masterfully captures the characters’ nuances and emotions flawlessly. As Yatra 2 releases today, here are three other biopics wherein Mammootty delivered remarkable performances (FYI, he earned National Awards for two of them).

Dr Babasaheb Ambedkar (2000)

During the promotions of Kannur Squad, actor-writer Rony David Raj shared a notable incident from their sets in Maharashtra where a local man visited daily to see Mammootty. When asked why, the man pointed to Mammootty and said, “Yeh humara Ambedkar saab hai (He is our Ambedkar sir).” In another interview in 2018, Mammootty recounted meeting a university professor on the sets of Ambedkar, who reverently fell at his feet seeing the actor dressed as Babasaheb, out of respect.

The impact of Jabbar Patel’s Dr Babasaheb Ambedkar on Indian cinema, audiences and Mammootty’s career remains unparalleled to this day. During a chat with India Today in 1997, the actor mentioned that the sole reference material he had for prepping for the role was a two-and-a-half-minute short film on Babasaheb, which he watched countless times to understand his mannerisms. “Nobody knows how he walked, how he spoke, or how he behaved. I had to conceive all those things in my mind,” he added.

Despite the limited resources, Mammootty’s portrayal of the character was impeccable. He meticulously grasped Babasaheb’s body language and Indo-British accent, ensuring his formidable presence and the fight against casteism were evident throughout without any compromises. Thus, Mammootty truly immortalised Babasaheb on-screen and earned his third National Film Award for Best Actor.

Mathilukal (1989/90)

Based on the eponymous autobiographical novel by the renowned Malayalam author Vaikom Muhammad Basheer, Adoor Gopalakrishnan’s Mathilukal (Walls) stands out as one of the most unconventional love stories in cinema history as it explores the bond between a male prisoner and a female inmate, who are separated by the boundary wall of their respective jails and never physically meet. Similar to the novel, the film positions us alongside Basheer (Mammootty) within his side of the prison, where we only hear Narayani’s voice (provided by KPAC Lalitha) and their evolving romantic conversations.

Censored in 1989 and released in May 1990, the film showcased a never-before-seen side of Mammootty, unbound by the typical macho image associated with him at the time, as he portrayed an innocent man with a heart brimming with love and empathy towards all living beings, with Narayani eventually emerging as his foremost companion. Mammootty flawlessly embodied this soft, romantic Basheer, delivering dialogues with a spectacular rhythm and metre that did absolute justice to the character and the film.

The conversations between Basheer and Narayani’s voices were not only heartwarming but also infused with poetry and philosophy, yet remained accessible without complex vocabulary. Mammootty’s mastery of Malayalam added a memorable dimension to Basheer’s character, leaving a lasting impression. His performance in Mathilukal and the contrasting role of a fictional warrior in Oru Vadakkan Veeragatha earned him his first National Film Award for Best Actor.

Kerala Varma Pazhassi Raja (2009)

Two decades after Oru Vadakkan Veeragatha, director Hariharan and Jnanpith Award-winning writer MT Vasudevan Nair envisioned another project starring Mammootty, this time based on the life of Pazhassi Raja, a king of the Kottayam dynasty who fought against the British East India Company in the 18th century. Organising the Kurichiya tribes in the forests of Wayanad and employing guerrilla warfare tactics, Pazhassi is credited with causing significant difficulties and destruction to the British forces, leading to many sleepless nights for them.

Mammootty’s physique, often regarded as the benchmark for Malayali masculinity, was well-suited for the titular role, and his commanding presence on screen set a new standard for contemporary actors portraying warriors and monarchs on screen. From depicting Pazhassi’s power as a king and warrior to his vulnerabilities and lows, Mammootty adeptly embodied the character’s essence and delivered a flawless performance.