The Malayalam actor alongside whom Amitabh Bachchan made his debut was overlooked for Dadasaheb Phalke Award, irking many despite love for Mohanlal

Every year on September 23, Malayalam megastar Mammootty extends heartfelt wishes to the industry icon by sharing a photo of him on social media, accompanied by the words, “Happy Birthday, My Superstar.” While Madhu may not fit the conventional definition of a superstar, especially when compared to other superstars of Indian cinema and the way they carried their fame, his contributions to the Malayalam industry and his profound influence on its development and aesthetics justify Mammootty’s words. With over 370 films to his credit, spanning various languages, many of which are now considered classics, Madhu also made his mark as a director and producer, making him worthy of the title “the juggernaut of Malayalam cinema.”

Madhavan Nair goes to NSD

Madhavan was the eldest and only son among five children of Parameshwaran Pillai and Thankamma. After completing his graduate and postgraduate studies in Hindi at University College, Trivandrum, and Banaras Hindu University, respectively, he joined Hindu College in Nagercoil as a Hindi lecturer before moving to Scott Christian College in the same role. Over time, his interest in the performing arts, drama, and cinema blossomed into a deep passion. This prompted him to eventually resign from his job and join the first batch of the National School of Drama (NSD) in New Delhi in 1959, according to his official website.

During his time there, Madhavan gained significant recognition among both the Malayalee community and theatre enthusiasts in Delhi, staging numerous plays. Besides earning the first rank, he also gained valuable connections from NSD that would help shape his future career. Meanwhile, his old friend, amateur stage and cinema actor Adoor Bhasi, introduced him to legendary Malayalam filmmaker Ramu Kariat, known for co-directing the National Award-winning film Neelakuyil (1954). This meeting with Kariat proved to be a pivotal moment in Madhavan’s life.

Actors Madhu (third from right) and Amitabh Bachchan (extreme right) in Saat Hindustani. (Express archive photo)

Madhavan Nair becomes Madhu

After his NSD life, he proceeded to Madras (now Chennai) to take part in a makeup test for Ramu’s Moodupadam. As the film was yet to go into production, Madhavan was taken to the location of director NN Pisharady’s Ninamaninja Kalpadukal for the test. There, the movie’s producer, Sobhana Parameswaran Nair, chanced upon him and was impressed by Madhavan almost instantaneously, offering him a key role in Ninamaninja Kalpadukal, which thus became his debut film. Veteran lyricist-director P Bhaskaran, meanwhile, rechristened Madhavan as Madhu. In his debut movie, he played the second hero to the then-superstar Prem Nazir. Despite the movie featuring a long list of notable actors, Madhu’s compelling performance as a soldier did not go unnoticed. His tall physique, measured dialogue delivery, and portrayal that was free from the exaggerated dramatics typical of that era impressed many.

With the release of Moodupadam, Madhu caught the attention of even more filmmakers, who began to make a beeline for him. While Prem Nazir was the Nithyaharitha Nayakan (Evergreen Hero), known predominantly for his romantic roles and charming portrayals, and Sathyan’s performances were marked by intensity and precision, Madhu brought an added layer of relatability to his characters. Not that Sathyan’s lacked relatability, but Madhu’s performances were even more grounded, often stripped of the additional embellishments actors typically brought to their characters. His style was, I believe, very guy-next-door-ish. Whether such performances, where shades of the actor’s real-life mannerisms often become visible, can be described as “good acting” is definitely debatable. However, we can’t forget that the most important yardstick for any art/performance is how well it strikes a chord with the audience. And going by that logic, Madhu’s portrayals often resonated with the masses, imprinting in their minds the different emotions his characters went through at any given moment.

Madhu with Sunil Dutt, Waheeda Rehman, Ramu Kariat and Jayabharathi at the switch-on of his directorial venture Priya. (Credit: madhutheactor.com)

‘Bhargavikkutty…’

Take, for instance, A Vincent’s Bhargavi Nilayam (1964), penned by path-breaking writer Vaikom Muhammad Basheer and widely regarded as the first horror film in Malayalam. Although Madhu’s performance as the nameless novelist wasn’t completely devoid of the influence of theatre, it wasn’t overly polished like that of most of his peers. His body language and dialogue delivery, instead, contained a certain level of fluidity that one could only see in real life and not in screen/stage acting. Whenever he called out to the yakshi (Vijaya Nirmala) as “Bhargavikkutty…“, it felt like someone close to us was calling, and we can’t help but respond immediately.

Thus, despite Nazir and Sathyan dominating the industry, Madhu quickly established himself, winning over the love of the audience and the trust of filmmakers. The subsequent years saw him demonstrating his massive acting potential through a wide range of characters. From Kesavankutty in A Vincent and MT Vasudevan Nair’s Murappennu, Kunjachan in “Hitmaker” Sasikumar’s Thommante Makkal, and Rajagopal in KS Sethumadhavan’s Archana, to his roles in P Bhaskaran’s Anweshichu Kandethiyilla, Kallichellamma, and Ummachu, Madhu demonstrated his ability to express deep, layered emotions internally without revealing everything on the surface or leaving the inner hollow.

Actors Madhu and Sheela in Chemmeen. (Express archive photo)

Pareekutty and Chemmeen

The best example of this was his iconic portrayal of Pareekutty in Ramu Kariat’s Chemmeen (1966) — widely regarded as one of the earliest tour de forces in South Indian cinema. As a fish trader grappling with unrequited love, Madhu redefined on-screen romance by channelling intensity through his eyes and voice, rather than relying on melodramatic facial expressions and mannerisms. Despite the presence of several acting legends in the movie, such as Sathyan, Sheela, and Kottarakkara Sreedharan Nair, Madhu’s performance became the most iconic, particularly his bit in the song “Maanasamaine Varoo.” His portrayal of Pareekutty eventually became a popular routine in Kerala’s mimicry scene as well.

With Chemmeen’s massive success and the national and international recognitions it received, Madhu rose to enormous fame across India. In 1969, while he was soaring high in Malayalam cinema, he made his Bollywood debut in Khwaja Ahmad Abbas’ Saat Hindustani, playing a Bengali football coach. Incidentally, this film also marked the acting debut of a young man named Amitabh Bachchan, who would later become Bollywood’s “Shahenshah.” Although Madhu’s performance in this movie was also appreciated, his eyes were set firmly on Malayalam cinema. And the 1970s saw him rise as the favourite of both commercial and independent filmmakers, making strides in a wide range of films and characters.

Madhu receiving an award from Indira Gandhi. (Credit: madhutheactor.com)

Just as brilliantly as he knocked it out of the park in mainstream films like Bobanum Moliyum, Karakanakadal, Inquilab Zindabbad, Manushya Bandhangal, Naadan Premam, Gandharava Kshetram, Chukku, Thekkankattu, Yakshagaanam, Itha Ivide Vare, Seemanthini, and Eeta, Madhu made jaws drop with his performances in artistically superior movies like Olavum Theeravum, Abhayam, Theertha Yathra, Mazhakaaru, Agni, and Pushyaraagam, and even in the outings of notable independent filmmakers like Adoor Gopalakrishnan and John Abraham’s Swayamvaram and Vidhyarthikale Ithile Ithile, respectively. Besides Malayalam, Madhu also appeared in Tamil films like Rajinikanth’s Dharma Durai. He was also one of the few actors who could easily slip into any character without being concerned about its screen time and still leave a lasting impression on the audience.

From Meen, Muthuchippikal, Padayottam, Pinnilavu, Kodungattu, Ithiripoove Chuvannapoove, Aparan, Witness, Naduvazhikal, Mudra, Lal Salam, Malappuram Haji Mahanaya Joji and Simhavalan Menon, to Varnapakittu, Ezhupunna Tharakan, Chathikkatha Chanthu, Naran, Hallo, Kaaryasthan, and Spirit, Madhu remained a force to be reckoned with. That’s why, when he appeared in substandard movies, particularly in the 2010s, there was no way anyone could criticise his acting. The mediocrity or shoddiness in his performances was, hence, quickly attributed to the makers’ inability to extract the best from him.

Madhu meets the press as the president of AMMA. (Credit: madhutheactor.com)

Director, producer, studio owner and more

Just as unbothered as he was regarding screen time or space, Madhu was also unperturbed in playing supporting characters or even grey-shaded ones. His artistry was such that when he made his directorial debut with Priya in 1970, he played the antagonist in the movie. The film not only showcased his potential as a filmmaker but also received recognition in the form of a state award. Madhu was, in fact, among the rare few who contributed meaningfully to the industry, instead of merely benefiting from it and enjoying a life of ease. Over the years, he helmed notable movies like Sindooracheppu, Sathi, Manyasree Viswamithran, Neelakannukal, Akkaldaama, Kaamam Krodham Moham, Theekkanal, Dheerasameere Yamuna Theere, Aaraadhana, Oru Yugasandhya, and Udayam Padinjaru. He apparently also produced and directed a movie in English, Sunrise in the West, which was entirely shot in the US.

Madhu’s contributions to cinema extended beyond acting and directing, as he also bankrolled several films, including Kaithappoo, Asthamayam, Shudhikalasham, Prabhaathasandhya, Vaiki Vanna Vasantham, Grihalakshmi, Archana Teacher, Njaan Ekananu, Rathilayam, and Mini. He was also the owner of the once-renowned Uma Studio in Thiruvananthapuram, which made him the first actor in Malayalam cinema to own a studio. However, as cinema moved from studio sets to open locations, Uma Studio lost its relevance, and Madhu eventually sold it to Asianet, which continues to operate from the site to date.

Madhu with his wife Jayalakshmi. (Credit: madhutheactor.com)

Besides serving as the president of the Association of Malayalam Movie Artists (AMMA) from 1997 to 2000, Madhu also held the position of president of the Kerala unit of the Indian People’s Theatre Association (IPTA) for a time.

It was because of his all-encompassing contributions to cinema that, when a much younger Mohanlal was bestowed with the Dadasaheb Phalke Award — India’s highest honour in the field of cinema — many felt it was unfair. While Mohanlal is undoubtedly deserving of the award, many felt that Madhu was overlooked. Even though he received a Padma Shri, it was back in 2013. For those making that argument, it’s not an unreasonable position. Yet, Kerala never shied away from recognising Madhu’s contributions, as he was accorded the JC Daniel Award, the highest award in Malayalam cinema, in 2004 itself while he was still active in the industry.

Madhu, now 92, tied the knot with his childhood sweetheart, M Jayalakshmi, in 1964, with whom he has one daughter, Uma. His studio was named after his daughter. Jayalakshmi passed away in 2014.