Mammootty turns 73: 10 non-Malayalam films that make him the most inventive and diverse Indian superstar 

Thalapathi (1991) 

The film is titled Thalapathi, and stars Rajinikanth as the titular commander-in-chief. One of the biggest superstars of Indian cinema was starring in a film directed by Mani Ratnam, one of the most influential filmmakers of Indian cinema. It was a reiteration of the story of Karna from the Mahabharata. Of course, the film is all about Karna, I mean Rajinikanth’s Suriya understanding a lot of things about his past, his present, and his future. But amidst all, there is one man that stands tall as the all-powerful king to this all-powerful commander. As Devaraj, the ruthless don, Mammootty instantly commanded immense respect. His controlled aggression was the perfect foil for the uncontrolled rage of Suriya. Interestingly enough, Deva wore his heart on his sleeve as opposed to the usually reticent Suriya. Deva was everything that Suriya wasn’t, but he was also everything that Suriya needed. In many ways, here were two superstars sharing screen space without a shred of ego distancing them from their characters. Rajinikanth is a demi-god, but for Suriya… Deva was more than a demi-god. It was Mammootty’s intimidating stature, impressive performance, and effortless aura that made us understand why Suriya saw him as something more than a demi-god. He was his friend, and watch Thalapathi to know why he is the Raja. 

Mammootty in Rajinikanth’s Thalapathi.

Azhagan (1991)

Mammootty is a wonderful actor, and a good-looking person. Probably why, K Balachander decided to make a simple relationship drama about three women falling in love with a guy, called the film Azhagan (Handsome man), and cast Mammootty as the lead. With beautiful songs from Oscar winner MM Keeravaani, Azhagan is a calm and composed story that dealt with three different romances. One that is infatuation from a young college-going girl. One from a teacher, who falls in love with her older and gentlemanly student. One from a dancer, who has nothing in common with the hotelier protagonist, but loves his casual demeanour, love for his children, and of course… his impeccable conversational skills. Of course, all these complications are expertly and emotionally unraveled to give us a simple and predictable ending. Sometimes, the world is more beautiful when it is all the more simple. 

ALSO READ: The Mammootty that KG George saw: A versatile actor, whose actions led to his mentor’s sudden exit from cinema

Swathi Kiranam (1992) 

After working with the likes of K Balachander and Mani Ratnam in Tamil, Mammootty had the fortune of working with K Viswanath, a modern-day legend in his debut Telugu film. In Swathi Kiranam, he plays “Sangeetha Samrat” Anantha Rama Sharma, who gets engulfed in a web of jealousy that breaks him from within and destroys anyone in its path. It is impressive how Mammootty, who has played a man with such shades, manages to bring a new flavour every time he plays these roles. His jealousy, somehow, gleams differently in each role, and it takes a devastating shade in Swathi Kiranam. The highs of fame, the depths of infamy, and living with overwhelming guilt, and finally understanding the true nature of talent and fame, Anantha Rama Sharma is one of Mammootty’s finest portrayals, and testament to his skills as a polyglot. 

Mammootty in Swathi Kiranam.

Makkal Aatchi (1995)

A common man comes into money and turns into a Chief Minister. It is interesting how the only bonafide superstars to be made CMs onscreen in Tamil cinema in recent history were Mammootty and Mohanlal. Nevertheless, as someone who isn’t new to political dramas, Makkal Aatchi, Mammootty’s maiden collaboration with director RK Selvamani, had the perfect amount of satire, and became a scathing film about the politics in our country. Another impressive aspect of the film was definitely how Mammootty managed to stand toe-to-toe against the box-office pull of Rajinikanth and Kamal Haasan, whose films Muthu and Kuruthipunal, respectively, were released during Diwali 1995. 

Marumalarchi (1998) 

Mammootty’s natural gait and imposing demeanour made him easily fit into the role of a village chieftain in Tamil cinema. This was the time when such films ruled the roost, and the superstars of those times either played the chieftain or the person fighting back against the oppressive system. It was purely on Mammootty’s grit and performance that we are convinced that he could be the centre of the happenings of Marumalarchi. Among many things, it reminds us how it is tough to change the individual mindset, especially when it is soaked in years of conditioning. Marumalarchi explores the reality of such societal changes, and points out that it isn’t enough if one person changes. It is the society that has to collectively come together, and full points for Mammootty to take on this pertinent issue. 

Kandukondain Kandukondain (2000) 

The true talent of an actor is to thrive in the shadows and hone their skills just in time to burst out when the spotlight finally gets shone on them. Mammootty’s Major Bala is easily one of the most subtlest roles in his career. Of course, there is a lot of understated flamboyance to that role, and Mammootty is super convincing as the PTSD-suffering ex-armyman who develops a soft corner for a talented and beautiful woman. The Azhagan has an inferiority complex, and it gets worse when he understands that the love of his life has fallen in love with someone else. But here is a man who is an alcoholic but never not a gentleman. His dialogues with Aishwarya Rai’s Meenakshi continues to be quoted on social media for its authenticity, romance, and of course, the top notch performance. Kandukondain Kandukondain will always be special for a myriad of reasons, primary of which is the way director Rajiv Menon showcases the romantic side of Mammootty. You almost wonder why no one after K Balachander thought of exploring this side of him in Tamil cinema.  

ALSO READ: 10 years of Munnariyippu: Mammootty’s minimalist film explores journey of a man imprisoned in the outside world after living a freer life in prison

Dr Babasaheb Ambedkar (2000) 

Before biopics became the trendy thing to do in Indian cinema, there was a time when this genre was extremely rare, and, in turn, super popular and super scrutinised. That is why Jabbar Patel’s Dr Babasaheb Ambedkar is extremely special. Mammootty, a lawyer himself, was signed on to play one of the most influential voices of modern day India. Jabbar has often said that it wasn’t easy to bring Mammootty on board due to a variety of reasons, including the lack of resemblance and the hesitation to shave the moustache. However, Mammootty cemented his place in history when he decided to embody the Father of the Indian Constitution and become the means for Jabbar to tell the story of Babasaheb. And when you finally watch the film now, it doesn’t matter that the facial resemblance is still a bit off, because Mammootty proved that acting as someone else doesn’t necessarily mean just looking the part. It is all about convincing the audience that you are the character you are playing, and make them forget the person behind it. You only see the character, and not the actor, and Mammootty knows how to do that well. 

Mammootty in Dr Babasaheb Ambedkar.

Aanandham (2001)

The primary reason why Mammootty fared better in Tamil than many of his Malayalam counterparts is simply because of the diversity of his roles. He could play the village chieftain as easily as playing the original gangster. He could oscillate from playing a war-torn romantic in one film and a common man who stands as the lone saviour of a huge family. His Thirupathi from Aanandham is one of the most honest portrayals of a family man in Tamil cinema. The film shows him strong when facing adversity and tearing up when he is misunderstood by his people. While there is no doubt that Aanandham was the perfect start for director Lingusamy, and went on to become a cult classic, especially for audiences starving for quality family dramas, it is important to understand the aura of Mammootty that pervades every scene in Aanadham. It wasn’t novel ground for him, but Thirupathi was different. Mammootty made it different, and the man from Kerala became a man from Tamil Nadu with so much ease. He was as much Tamil as he was Malayali, and not many are accorded this rare honour.

ALSO READ: Mammootty, 72, says he doesn’t feel exhausted, can’t imagine life without movies: ‘Cinema is my life’

Peranbu (2019) 

Whatever I say about Peranbu… whatever I say about the acting of Mammootty in the film… whatever words I string together to explain the core concept of the film, or the underlying message of compassion and empathy, it won’t be enough. It won’t justify the beauty of this Ram directorial. You are awed by the vision of Ram, and also thankful to the discerning minds that wanted Mammootty to play the role of Amudhavan. I repeat, whatever I say about Peranbu… whatever I say about the acting of Mammootty in the film, won’t be enough. Just watch Peranbu. It is a masterclass in acting. It is a terrific story about a man who comes to terms with compassion and empathy, and understands it is easy to forgive everyone else but ourselves. It also reminds us that nature can be as cruel as it can be beautiful. Also more importantly… Just watch Peranbu. 

Mammootty in Peranbu.

Yatra (2019) 

Once again, it is impressive how Mammootty finds a way to embody a character even if he doesn’t necessarily look it. Now, do you think Mammootty looks like former Andhra CM YS Rajasekhara Reddy? Not really. But, we didn’t think Mammootty looked like the father of the constitution either. And yet, we were convinced by the portrayal, right? The same holds good for Yatra too, as Mammootty plays this influential leader in present day politics. There are very few actors who can convince the audience when to empathise, when to smile along, when to show compassion, and when to feel a rousing sense of relatability. In Yatra, Mammootty transforms into the late political bigwig, and we are left in awe to see how effortlessly a non-Telugu actor slips into the shoes of a slain Telugu leader. 

Acting doesn’t need a language, they say. And how right are they?