Harikrishnans: Why Mohanlal, Mammootty should have ended up together and let ‘poor’, ‘delusional’ Juhi Chawla live in peace

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The genius of Fazil

Although he could have played it safe and cast a bunch of stars in his debut film Manjil Virinja Pookkal (1980), Fazil chose fairly unknown newcomers, among whom was debutant Mohanlal, and scripted history as it became a massive blockbuster. After the underperformance of his next two movies, he could have opted for an out-and-out commercial entertainer as a safe bet. But no, he made Ente Mamattukkuttiyammakku, revolving around a little girl and her adoptive parents.

His subsequent superhit Nokkethadhoorathu Kannum Nattu made the industry’s jaws drop, as it featured men like Mohanlal and KP Ummer in supporting characters while two women, the legendary Padmini and debutant Nadiya Moidu, played central roles. He turned tearjerker dramas like Poovinu Puthiya Poonthennal, Manivathoorile Aayiram Sivarathrikal, Ente Sooryaputhrikku, and Pappayude Swantham Appoos into blockbusters. His psychological thriller Manichitrathazhu, which subverted the conventional horror, remains one of the finest Indian movies ever. And while Mohanlal and Mammootty were reigning high, he delivered an industry hit with Aniyathipraavu, featuring newcomers Shalini and Kunchacko Boban. So, Fazil tha toh mumkin tha.

Harikrishnans marked the on-screen reunion of Mammootty and Mohanlal after years. (Credit: IMDb)

The tale of two Harikrishnans

In the case of Harikrishnans, despite it marking the on-screen reunion of the superstars after about eight years, Fazil didn’t start with an elaborate buildup towards their eventual reveal. In fact, the first time we see them, they are arguing like best friends. One of the country’s most famous lawyer duos, Harikrishnan (Mammootty, referred to by others as Hari) and Harikrishnan (Mohanlal, referred to as Krishnan), are demonstrating to their juniors how a case their organisation has taken up must be argued in court. While Hari makes his points based on the evidence, Krishnan lists counterpoints based on speculation so that their lawyer, who is entrusted with the case, can win.

Although Harikrishnans has ample instances where Fazil brilliantly utilised Mohanlal and Mammootty’s star aura, he didn’t make it just about that. Mohanlal didn’t twirl his moustache and hitch up his mundu like Devaasuram’s Mangalassery Neelakandan, Spadikam’s Aadu Thoma, or Aaraam Thampuran’s Jagannadhan here. Mammootty didn’t deliver explosive dialogues at every juncture like Dhruvam’s Narasimha Mannadiyar or The King’s Joseph Alex. If anything, all the banters and quarrels are between Hari and Krishnan, highlighting their bromance. While they talk to others in a measured manner, once the two lock horns with each other, they act like two boys who have just hit puberty and developed childish male-ego.

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Their lives take a turn when Ammalu’s friend, a speech-impaired middle-aged man named Gabriel (VK Sreeraman), becomes embroiled in a murder case. Believing that he didn’t commit the crime, Ammalu contacts Harikrishnan Associates, as Hari is her elder brother. They not only decide to prove Gabriel’s innocence but also find the actual murderers of Guptan (Rajiv Menon). As their investigation progresses, they meet Meera (Juhi Chawla, in her sole Malayalam film thus far), Guptan’s friend, who is also determined to ensure justice for him. A crack develops in the inseparable Harikrishnans’ bond when both Hari and Krishnan fall for her. The mystery buddy comedy then follows their efforts to uncover the truth behind the case and win Meera’s heart.

What if Mohanlal and Mammootty were BFFs in real life?

Harikrishnans is narratively and cinematically one of Fazil’s most inferior works until the 2000s, when he was in his prime. Although the movie wasn’t a typical star vehicle, a simple glance reveals that the narrative was crafted to give equal weight to both Hari and Krishnan, satisfying Mohanlal and Mammootty’s fan bases, without much focus on ensuring the sturdiness of the overall script. However, what made it different was that Harikrishnans wasn’t merely a “clash of titans” between the two icons; it’s anchored in the real-life relationship and the extraordinary on-screen chemistry they share.

In a way, it satisfied the thousands of Malayalees who wished to witness the kind of bond and interactions the two stars share in private, away from the limelight. It was built on a beautiful illusion, stemming from the unrealistic dream many fans had — that Mohanlal and Mammootty are best friends in real life.

Harikrishnans satisfied the thousands of Malayalees who wished to witness the kind of bond and interactions the two stars share in private, away from the limelight. (Credit: IMDb; Enhanced by AI)

Given that they are powerhouse actors, Fazil simply had to create delightful and fun moments that radiated their bromance. And such instances weren’t limited to the comedic ones. In court, when Ammalu has a breakdown after being asked inappropriate questions by the opposing lawyer (Jagadish), she pleads with Hari and Krishnan to take her back home. Here, there’s a moment when the two men communicate through silence, their exceptional acting making it seem like a telepathic exchange, before Krishnan rises to inform the court how they will proceed with the case.

During their first interaction with Meera, Hari and Krishnan start sweetly, but when they feel she is trying to deflect blame onto them, Mohanlal and Mammootty’s chemistry shines through again. The lawyers in them immediately rise, and they ask her sharp questions, finishing each other’s lines in a synchronous manner.

However, the brilliance of the two actors becomes most evident once they both fall for Meera and start making moves on her. At one moment, they make one believe that Hari and Krishnan are two bodies connected to a single super-brain, as they choose to wear similar clothes when they meet her. This is also when they realise each other’s feelings for her and that they will have to compete for her affection. What follows is a series of moments where they engage in petty quarrels and desperate attempts to prove that their love is more intense.

What makes Mohanlal and Mammootty truly unique

Making one wonder whether any other two superstars would have done this until recently, there’s a scene where both Hari and Krishnan — in extension, Mammootty and Mohanlal — poke fun at each other’s appearances, trying to establish who’s more good-looking.

From one’s efforts to make the other feel jealous by pretending that Meera is closer to him, using Ammalu to delay the other’s arrival to meet Meera, and dressing up like her friend Guptan, to the iconic face-off between Hari and Krishnan while purchasing household items — when they share a house with Meera during the investigation — trying to prove who is better husband material, there are many moments when Harikrishnans resembles a teen rom-com. And who can forget the musical war between Hari and Krishnan during the iconic “Ponnambal Puzhayirampil”?

Why Harikrishnans is problematic

However, the problematic thing in all these scenes, overshadowed by Mohanlal and Mammootty’s towering performances, is that they essentially mirror the “Jo Jeeta Wohi Sikandar” tone, in which a woman is caught in the middle of a so-called romantic face-off between two men. Here, neither of them professes their love for her, and she is constantly put on the spot, indirectly pressuring her to choose between them. Matters worsen as Meera is portrayed as enjoying the game, where she is treated like a trophy.

But once Hari and Krishnan realise that they have failed her by turning their “love” into a clash of egos, they both agree to back out. “You are more important to me than anyone else in this world,” they tell each other, underscoring their bromance. At one point, Harikrishnans makes us feel that Hari and Krishnan should have ended up together for life, even if in a bond that defied society’s marriage-centric ideals, leaving Meera alone.

This notion is further cemented by the fact that she herself is quite delusional in her choice of a life partner, as she would rather toss a tulsi leaf in the air to decide between the two men than make an informed and sensible decision. Although the best choice for her would have been to reject both Hari and Krishnan, who treated her like a trophy, she opts for a senseless game her grandmother taught her. This ending ultimately also led to unnecessary controversy over its two climaxes, which attempted to give equal importance to both superstars, although it helped the movie rake in more money.

Mammootty, Mohanlal, and Juhi Chawla in Harikrishnans. (Credit: IMDb)

Even though Fazil’s script is weak overall, there’s no denying that Harikrishnans is engaging throughout, thanks in part to Madhu Muttam’s impressive dialogues. The humour in the moments themselves and the dialogues featured in them work beautifully, and Mohanlal and Mammootty’s unhinged performances — marked by impressively in-tune body language, expressions, and dialogue delivery — added to their charm.

Juhi Chawla (voiced by the legendary dubbing artiste Sreeja Ravi) also delivered an impressive performance, unlike the many artificial portrayals of non-Malayali actors in Malayalam films over the years, with a recent notable dismal one being Kayadu Lohar’s in Pallichattambi. Ouseppachan’s tracks are also top-notch, with “Samayamithapoorva” remaining a benchmark for semi-classical playback songs.

Mohanlal and Mammootty are now joining forces again in director Mahesh Narayanan’s Patriot, set for release on May 1. Although it will be entirely different from Harikrishnans in spirit — being a high-octane spy thriller — let’s hope that we get to witness the iconic chemistry between the Big Ms here too, even if in a different environment and mood.

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