Kaviyoor Ponnamma (1945-2024): The ‘golden mother’ of Malayalam cinema finds eternal rest

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At the age of 14, she was roped in by the then-prominent theatre company Prathibha Arts Club as a singer. However, it was when Kerala People’s Arts Club (KPAC) needed a female lead for one of their plays that her life took a significant turn and she was eventually chosen her for the role. Remarkably, Ponnamma, who had never before watched a movie or a theatre performance, won hearts with her performance in the play Mooladhanam, written by Thoppil Bhasi, whom she often referred to as her acting mentor.

It didn’t take long for Ponnamma to break into the world of cinema. When renowned producer P Subramaniam of Merryland Studio was looking for someone to play Mandodari in his film Sreerama Pattabhishekam, a person connected to the project, who knew her father Damodharan too, helped arrange a screen test. Ponnamma eventually landed the role and made her film debut in 1962, in the devotional movie starring “Nithyaharitha Nayakan” (Evergreen Hero) Prem Nazir as Lord Ram. From that point on, until 1996, there wasn’t a single year where she didn’t appear in at least one movie. Ironically, however, Ponnamma didn’t have much interest in watching films, especially her own. She rarely visited theatres and only did when someone insisted that a particular film was worth seeing. This is despite the fact that over her 60-year career, she appeared in more than 700 films.

Kaviyoor Ponnamma with Sathyan in Odayil Ninnu. (Image: Express Archives)

Kaviyoor Ponnamma (first from left) with Prem Nazir, Sheela and Vidhubala in Amarsham. (Image: Express Archives)

Though she began receiving acting opportunities fairly quickly, it was director J Sasikumar’s Thommante Makkal (1965) that marked a turning point in her career; whether for better or worse is open to debate, as this role typecast her as the quintessential mother figure. However, the film also ensured she never looked back, with numerous offers flowing in as most Malayalam films at the time were dramas that featured at least one mother character, providing her with a steady stream of work. In Thommante Makkal, at just 20 years old, she played Achamma, the wife of Thomachan (portrayed by 43-year-old Kottarakkara Sreedharan Nair) and the mother of Pappachan (53-year-old Sathyan) and Kunjachan (32-year-old Madhu). From films like Odayil Ninnu (1965), Asuravithu (1968) and Vazhi Pizhacha Santhathi (1968) to Velutha Kathreena (1968), Othenente Makan (1970) and Cross Belt (1970), Ponnamma shared the screen with the biggest stars of that era, yet consistently made a lasting impression, standing out even in multi-starrer movies.

By the 1970s, Ponnamma had firmly established herself in Malayalam cinema and bagged her first Kerala State Film Award for Second Best Actress (a category that was discontinued in 2014 and replaced by the Kerala State Film Award for Best Character Actress in 2015) in 1971 for her performances in various movies such as Bobanum Moliyum, Oru Penninte Katha and Vithukal among others. She won the award again in 1972 and 1973, underscoring her rising influence in the industry and her ability to excel in the roles she took on. Her talent for infusing emotional depth into her characters, along with her knack for portraying their nuances, endeared her to both filmmakers and audiences. Whether in dramatic or sentimental scenes, Ponnamma consistently outshone her co-stars, delivering natural, organic performances, free of the influence of theatre.

Kaviyoor Ponnamma (second from right) with Prathapachandran, Shammi Thilakan and Philomina. (Image: Express Archives)

Kaviyoor Ponnamma with Mohanlal, Nedumudi Venu, Lakshmi, Suchitra Murali and Thikkurissy Sukumaran Nair in Bharatham. (Image: The Complete Actor website)

Even when a new generation of superstars like Sukumaran, Soman and Jayan began ruling Malayalam cinema, Ponnamma’s significance remained unshaken. She, alongside Sukumari and KPAC Lalitha, became the industry’s go-to person for mother roles. During this period, she also ventured into playback singing, lending her voice to a few film songs, partially fulfilling her childhood dream of becoming a singer.

Her ability to form strong on-screen connections with her co-stars only bolstered her career. However, it was her rapport with Mohanlal that truly captivated audiences. Their natural chemistry often made people wonder if they were mother and son in real life. Whenever they shared the screen, it felt like they were elevating each other’s performances, creating something extraordinary together. One of the earliest films to showcase this connection was ace filmmaker P Padmarajan’s romantic classic Namukku Parkkan Munthirithoppukal (1986), where they played mother-son duo Reetha and Solomon. Their heartfelt performances, as if rooted in a shared emotional core, resonated strongly with audiences. This chemistry continued in films like Irupatham Noottandu (1987), Peruvannapurathe Visheshangal (1989), Vandanam (1989) and Adhipan (1989). However, it was director Sibi Malayil’s classic action drama Kireedam (1989) that fully revealed the extent of their on-screen synergy. They flawlessly portrayed both the everyday warmth between a mother and son, as well as the intense sentimental in scenes like Sethumadhavan’s (Mohanlal) departure from home after being branded rowdy. Ponnamma herself often mentioned that this particular scene, where Sethu and his mother share a heartbreaking conversation, was one of the rare times a co-star’s performance moved her to tears, highlighting their profound connection.

Kaviyoor Ponnamma with Mohanlal and Shari in Namukku Parkkan Munthirithoppukal. (Image: The Complete Actor website)

Kaviyoor Ponnamma with Mohanlal in Namukku Parkkan Munthirithoppukal. (Image: The Complete Actor website)

Ponnamma delivered stellar performances alongside Mammootty as well, particularly in iconic films like Thinkalaazhcha Nalla Divasam (1985) and Thaniyavarthanam (1987), where the two legends seemed to be in a friendly competition, leaving audiences in awe as they showcased their acting prowess, trying to outperform the other for the better. Her performances with ace actor Thilakan also won significant acclaim.

Malayalam cinema’s obsession with stories centred around Nair, Brahmin and Kshatriya families worked in Ponnamma’s favour, making her the preferred choice for filmmakers creating films set in these backgrounds. However, she continued embracing any role that came her way and continued to captivate audiences. Her portrayals in films like In Harihar Nagar (1990) as Andrew’s mother, His Highness Abdullah (1990) as Bhagirathi Valiya Thampurati, Sandesham (1991) as Bhanumathi, Pookkalam Varavayi (1991) as Nandan’s mother, Bharatham (1991) as Devaki, Gandharvam (1993) as Gracykkutty, Vatsalyam (1993) as Janaki Amma, Chenkol (1993) as Sethumadhavan’s mother, Kudumba Vishesham (1994) as Bharathi, Santhanagopalam (1994) as Kurup’s wife and Thenmavin Kombath (1994) as Yashodhamma showcased her impressive range and talent. She also earned a fourth Kerala State Film Award for Second Best Actress in 1994, tying her with Sukumari and Lalitha for the most wins in this category. However, being typecast as the quintessential mother came with its limitations, as almost all these roles lacked depth beyond pure kindness, often making her characters one-dimensional. This trend persisted in her later films as well.

Watch Mohanlal’s performance in Kireedam that moved Kaviyoor Ponnamma to tears here:

While her performances with Mammootty in Arayannangalude Veedu (2000), alongside Mohanlal and Nedumudi Venu in Kakkakuyil (2001) and with Jayaram in Uthaman (2001) were highly appreciated, Ponnamma also began working with a younger generation of actors. In director Ranjith’s Nandanam (2002), she played Prithviraj Sukumaran’s grandmother Ambalappattil Unniyamma, an ardent devotee of Guruvayurappan, much like Ponnamma herself in real life. While Unniyamma was nurturing and loving just like her other characters, she also embodied the strength of a matriarch within an elite family, in contrast to most of her previous roles. Her portrayal of a similar character in Baba Kalyani (2006) also earned her praise, as did her work in films like Ammakilikkoodu (2003) and Runway (2004).

However, with the arrival of a new wave of talented filmmakers and artistes in the 2010s, eager to move beyond the traditional family dramas and explore a wider range of genres, settings and characters, Ponnamma, like many of her contemporaries, typecast in specific roles, began to fade from the spotlight, making only occasional appearances. Films like Manjadikuru (2012), Pa Va (2016) and Mamangam (2019) offered her meaty roles, though her screen presence had significantly diminished.

Kaviyoor Ponnamma (first from right) with Mammootty, Madhu and others in Ezhupunna Tharakan. (Image: Express Archives)

Kaviyoor Ponnamma with Mohanlal and Nedumudi Venu in Thenmavin Kombath. (Image: The Complete Actor website)

Toward the end of her career, however, Ponnamma received a rare and unexpected opportunity to portray a character with grey shades — something many thought she would never get, ever. In director Aashiq Abu’s segment “Rani” in the anthology film Aanum Pennum (2021), while she embodied the stereotypical Malayali mother in her white settu-mundu, her role took a sharp turn away from convention. Alongside Venu, she played a bedridden elderly woman living with her ailing husband, both indulging in unusual sexual perversions. While Venu’s character found gratification in watching couples engage in ‘secret’ sex in the wilderness near their home, Ponnamma’s character took pleasure in hearing vivid descriptions of their encounters from her husband. Her nuanced performance, marked by her signature smile, which here became eerie, revealed a depth beyond the typical “good mother” roles she had long been associated with — showing a side of her talent that Malayalam cinema missed exploring. In addition to films, she also appeared in several hit TV serials and programmes.

Despite her successful film career, Ponnamma’s personal life, especially her marriage, was less fulfilling. She married film producer Maniswami in 1969, but in a candid interview on Kairali TV’s talk show JB Junction, she shared that their relationship had been far from ideal. Describing them as polar opposites, Ponnamma said she couldn’t recall a single instance when Maniswami treated her with love. Though he subjected her to emotional hardship during their time together, which eventually led to their separation, Ponnamma took him into her home during his final years, providing him with care until his death in 2011. She is survived by her daughter, Bindu.

With Ponnamma’s passing, Malayalam cinema has lost one of its most beloved mothers. For many Malayalees, as well as the numerous actors to whom she played mother on screen, she was a maternal presence in their lives and while she may no longer be physically present, her legacy will continue to live on, enduring as long as Malayalam cinema itself.