Although Mohanlal made his debut in the 1978 Malayalam film Thiranottam, which also served as the debut project for his longtime collaborator Priyadarshan, who worked as an assistant director, unfortunate censorship issues led to the shelving of the film. It was not until 2005 that the film finally saw the light of day. Interestingly, notable individuals who later rose to prominence in the Malayalam film industry, such as actor Maniyanpilla Raju and producer G Suresh Kumar, were also involved in this project. Despite the setback of his first film, fortune smiled upon Mohanlal as he received another opportunity in 1980 with Manjil Virinja Pookkal (Dir. Fazil), and from that point onwards, he has never had to glance back in his remarkable journey.
Mohanlal on the sets of Vanaprastham. (Express archive photo)
In 1981, the actor was cast in eight films, but it was in the following year, 1982, that his presence truly flourished, appearing in 14 films. Admittedly, not all of them were of high quality. However, Mohanlal’s exceptional performances consistently caught the attention of many and propelled him to become an indispensable figure in Malayalam cinema. This ascent paved the way for his journey from a star to a bona fide superstar. Throughout his career, he never lost sight of his commitment to the craft of acting. Even amidst his involvement in mainstream entertainers, Mohanlal always made a conscious effort to take on roles that challenged him artistically, a dedication he maintained until recently.
As time went by, Mohanlal’s star power grew to immense proportions, eventually reaching a point where he seemed to have lost the drive to strive for excellence. Regrettably, he descended into a realm of mediocrity and subpar work. Despite being hailed as ‘the complete actor’ by himself and his fans, he has now reached a stage where he consistently disappoints both himself and the audience with films and performances that fall short of his previous standards. Nevertheless, it is undeniable that there was a time when Mohanlal was a truly remarkable artiste, long before he assumed the mantle of ‘the complete actor’.
Mohanlal on the sets of Rakthasakshikal Sindabad. (Express archive photo)
As the thespian turns 63 on May 21, indianexpress.com takes a closer look at some of the actor’s most underrated and underappreciated performances.
(Disclaimer: This article focuses on exploring lesser-known Mohanlal performances that may not include widely acclaimed roles like Kalloor Gopinathan from Bharatham or Sethumadhavan from Kireedam, which have already received ample recognition and extensive discussion.)
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Manjil Virinja Pookkal, despite attaining cult status over the years mainly due to it being Mohanlal’s debut film, showcased a rather mediocre and occasionally subpar performance by the actor. This could be attributed to the prevailing style of most Malayalam films during that era, characterised by lacklustre dialogues, excessively dramatic moments, and exaggerated performances.
Mohanlal on the sets of Iniyenkilum. (Image: NFAI)
It was in Ahimsa (1981), directed by IV Sasi and written by T Damodaran, that Mohanlal first exhibited a commendable performance that avoided cringe-worthy moments. The sixth collaboration between Sasi and Damodaran, Ahimsa featured an ensemble cast including Sukumaran, Mammootty, Ratheesh, Poornima Jayaram, and Menaka. Although Mohanlal played a negative role with limited screen time in the film, he managed to deliver a decent performance, marking a significant improvement in his acting journey.
Despite receiving numerous opportunities following Ahimsa, it was not until 1983 with M Mani’s Kuyiline Thedi, written by Priyadarshan, that Mohanlal truly showcased his talent by skillfully portraying the nuances of another villainous character. This performance demonstrated his readiness to tackle more complex roles. On the other hand, in Iniyenkilum (1983), another collaboration between IV Sasi and T Damodaran, Mohanlal excelled in a non-villainous role, while J Sasikumar’s Aattakalasam revealed a deeper side of his acting abilities, as he ventured into characters that defied simple categorisations of good and bad.
Another notable performance came in Bharathan’s Kattathe Kilikkoodu (1983), written by T Damodaran. This dramatic film explores the flaws of human nature and how easily individuals can succumb to their instincts and desires. Despite sharing the screen with esteemed actors Bharat Gopy and Srividya, Mohanlal shone brightly. Through his portrayal of a wide range of emotions, including romance, compassion, envy, anger, and helplessness, he firmly established himself as one of the most promising actors in Malayalam cinema.
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In 1984, Lal continued to impress with notable performances in films like Swanthamevide Bandhamevide (Dir. J Sasikumar), Appunni and Kaliyil Alpam Karyam (Dir. Sathyan Anthikad), Aalkkoottathil Thaniye (Dir. IV Sasi), and Sreekrishna Parunthu (Dir. A Vincent). However, it was in Poochakkoru Mookkuthi (Dir. Priyadarshan) and Uyarangalil (Dir. IV Sasi) that he truly surpassed his previous roles. Poochakkoru Mookkuthi allowed him to effortlessly showcase his humorous side in a screwball comedy, gaining favour with family drama audiences. In Uyarangalil, Lal’s portrayal of the cunning and ruthless antagonist, Jayarajan, set a new standard for future villain characters. Jayarajan remains one of the greatest antagonists in Malayalam cinema history.
In 1985, Mohanlal delivered four significant performances, two under the direction of Priyadarshan and the other two by IV Sasi. Aram + Aram = Kinnaram, a slapstick comedy that cashed in on Lal’s charming persona, showcased his impeccable comedic timing and ability to shine amidst a cast of actors known for their humour-based roles. Additionally, Mohanlal ventured into full-fledged family drama with Sasi’s Anubandham, marking his deliberate or unintentional entry into a genre he had previously avoided.
Sasi’s Karimpinpoovinakkare, written by P Padmarajan, showcased Mohanlal as a character with complex shades of grey and underlying goodness. With commanding control over his performance, Lal portrayed the rugged and raw role magnificently. Priyadarshan’s Boeing Boeing, on the other hand, proved to be a game-changer for the actor. This romantic slapstick comedy, based on the 1965 American film of the same name, fully utilised Lal’s versatility. His portrayal of a charismatic casanova endeared him to comedy filmmakers, leading to career-defining roles in the future.
Nita Ambani of Reliance group felicitates Mohanlal after his performance as Karna in the Sanskrit dance drama Karnabharam staged at the Leela Ballroom, Mumbai. (Express archive photo)
In 1986, a pivotal year in Mohanlal’s career, he appeared in approximately 34 films, many of which received recognition due to his exceptional performances. Films like Ninnistham Ennishtam (dir. Alleppey Ashraf), Mazha Peyyunnu Maddalam Kottunnu (dir. Priyadarshan), Vartha (dir. IV Sasi), Doore Doore Oru Koodu Koottam (dir. Sibi Malayil), and Sukhamo Devi (dir. Venu Nagavally) highlighted Lal’s growth as an actor and established him as one of the finest performers of his generation. Notably, three films written and directed by P Padmarajan showcased a transformed Mohanlal capable of exploring diverse characters with depth and breadth.
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Director Sibi Malayil, when discussing his cult classic film Dasharatham (1989), once remarked to Cue Studio: “Concluding a movie solely based on the protagonist’s reaction, particularly in response to dialogue, is an arduous task. This approach is not frequently employed in the Malayalam industry or its counterparts. However, owing to Mohanlal’s exceptional talent, I made the decision to conclude Dasharatham (1989) with an intense close-up shot of him. Observing the emotions portrayed on his face while embodying the character gave me the confidence that his expressions alone would suffice in providing closure for the audience.”
Mohanlal with actor Ranjini on the sets of Mukham. (Express archive photo)
Three years prior to Malayil’s Dasharatham, Padmarajan adopted a similar approach, concluding his films Kariyilakkattu Pole and Deshadanakkili Karayarilla with impactful close-up shots of Mohanlal. This demonstrated the immense trust that these master filmmakers had in the actor. In the mystery thriller Kariyilakkattu Pole, Mohanlal portrayed the role of a Deputy Superintendent of Police investigating the murder of a film director. In Deshadanakkili Karayarilla, he played a suspended bank manager who befriended two eloped girls. While these movies primarily focused on other characters, Mohanlal’s subtle and controlled performances as Achuthankutty and Harishankar, respectively, left a lasting impression. Not seeking to overshadow the main characters, he exhibited his mastery in portraying nuanced roles, making his mark in the artistic realm. Furthermore, Deshadanakkili Karayarilla is recognised as one of the early Malayalam films addressing the experiences and hardships faced by the LGBTQIA+ community, earning praise from both the queer community and film enthusiasts.
Renowned as a pinnacle of romantic Malayalam cinema, Namukku Parkkan Munthirithoppukal emanates an aesthetic brilliance. Every facet, from its captivating narrative, meticulously crafted screenplay, mesmerising cinematography, enchanting music and background score, and exquisite art direction, to the stellar performances of the entire cast, meticulously choreographed scenes, breathtaking locales, seamless editing, and masterful direction, contributes to its status as a true marvel. While the film has always been revered as one of Padmrajan’s masterpieces, Mohanlal’s portrayal remains unjustly unappreciated. Though many of his admirers laud his portrayal of love, effortlessly emanating an inner depth, it is his breathtaking performance throughout the entire film that truly captivates. His profound conversations with each character, accompanied by subtle nuances in his body language, serve as testaments to his profound understanding of his role. Above all, his portrayal of Solomon is a ravishing spectacle, captivating audiences at every turn.
Mohanlal with actor Shari on the sets of Namukku Parkkan Munthirithoppukal. (Image: NFAI)
Dr PK Haridas, brilliantly played by Mohanlal in Hariharan’s Amrutham Gamaya (1987), penned by MT Vasudevan Nair, is a guilt-ridden doctor tormented by his past. Despite his commitment to the Hippocratic oath, he cannot escape the haunting memory of a crime he committed during his medical college years. Seeking solace in drugs only worsens his despair, pushing him to the brink of self-destruction. The weight of shame and remorse consumes him as he attempts to lead a ‘peaceful’ life as a doctor while grappling with the life he took. Haridas is a rare multi-dimensional character in the annals of Malayalam cinema, and Mohanlal’s nuanced performance in the film is a testament to his skill. The film gradually reveals Haridas’ sophisticated facade and unveils the extent of his crime. Mohanlal skillfully captures the layers of Haridas’ emotions with subtlety, delivering one of his most composed performances. Although Mohanlal is never considered a method actor and a lot of criticisms have, rightly so, come his way stating that all his characters have a bit of Mohanlal in their mannerisms, Haridas stands as a role where Lal’s presence is absent, showcasing his remarkable range as an actor.
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In the same year, Mohanlal collaborated with writer-director Venu Nagavally, who also acted in the film, to deliver one of Indian cinema’s finest college movies – Sarvakalashala. His portrayal of an orphaned student deeply connected to his college resonated so profoundly that Sarvakalashala garnered fans across all age groups.
Mohanlal receives a memento from late Bollywood actor Shammi Kapoor. (Express archive photo)
While his performances as Eby in Kamal’s Unnikale Oru Kadha Parayam and Ramachandran in Priyadarshan’s Cheppu were equally remarkable, Mohanlal’s portrayal of the cunning and power-hungry Mahendra Varma in Bhoomiyile Rajakkanmar remains underrated. Varma, an affluent individual from a royal lineage, inherits his ancestors’ insatiable greed. Propelled into politics by his family’s manipulation, he starts as a corrupt politician but undergoes a transformation upon witnessing the suffering inflicted on the common people by those in power. Mohanlal’s portrayal impeccably captured Varma’s character development throughout the film.
In the subsequent years, two remarkable films – Padamudra (1988) directed by R Sukumaran and Season (1989) directed by Padmarajan – showcased an even more unconventional side of Mohanlal. While movies like Mukunthetta Sumitra Vilikkunnu (1988, Dir. Priyadarshan), Orkkappurathu (1988, Dir. Kamal), Ulsavapittennu (1988, Dir. Bharath Gopi), and Dasharatham (1989, Dir. Sibi Malayil) also featured Mohanlal’s exceptional talent, it was Padamudra and Season that presented him with once-in-a-lifetime characters, which he portrayed with captivating brilliance.
In Padamudra, Mohanlal took on the dual roles of Maathu Pandaaram, a womaniser, and his son Soap Kuttappan, who struggles to live a normal life while grappling with questions about his father. The stark contrast between these characters allowed Mohanlal to showcase his versatility, delivering an unbridled performance as Pandaaram and a controlled portrayal of Kuttappan, highlighting his acting prowess.
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In Season, Mohanlal portrayed Jeevan, a mysterious restaurant owner in Kovalam involved in illicit activities such as smuggling and dealing in foreign currency. His rendition of Jeevan, initially appearing as a predictable but shady character, gradually unravels as unpredictable and unapologetic, adding layers to the role. Mohanlal’s honest portrayal captivated audiences, earning Jeevan a cult status for the enigmatic persona he maintained until the end of the film.
The remarkable talents of Mohanlal and Mammootty, which have placed them among the greatest actors of all time, stem from their profound ability to empathise with diverse characters and stories. They possess an exceptional capacity to immerse themselves in the essence and struggles of individuals whose paths seldom intersect with their own. This talent is evident in two films that Mohanlal embarked upon in 1990 and 1991 – Thazhvaram directed by Bharathan and Vasthuhara directed by G Aravindan respectively. In Thazhvaram, Mohanlal played the character of a man driven by the relentless pursuit of justice, seeking retribution against his former “friend” who callously murdered his wife for personal gain. Meanwhile, in Vasthuhara, he played the role of a government official deployed in 1971 Calcutta, entrusted with the arduous task of rehabilitating refugee families on the Andaman and Nicobar islands. These two films eloquently capture the lives of individuals perennially oppressed and abandoned to the whims of fate.
Mohanlal’s performances as Venu in Aravindan’s Vasthuhara and Balan in Bharathan’s Thazhvaram were nothing short of extraordinary, as he skillfully channelled the very essence of these characters, seamlessly aligning himself with the profound narratives that unfold. His portrayal of Venu and Balan exemplifies the deep understanding he possesses of their respective stories, leaving an indelible mark on the cinematic landscape.
By this juncture, Mohanlal had ascended to the status of a superstar, often undertaking larger-than-life roles. However, amidst his forays into such spectacles, he remained committed to projects that possessed depth and substance. Oru Yathramozhi (1997) directed by Prathap Pothan and Devadoothan (2000) helmed by Sibi Malayil exemplify the calibre of Mohanlal as an actor before he ventured into the abyss of formulaic, male chauvinistic films that offer little beyond a moustachioed hero draped in a mundu, delivering bombastic dialogues.
Mohanlal with late Tamil actor Sivaji Ganesan. (Express archive photo)
While Oru Yathramozhi delves into the story of Govindankutty, a troublemaker relentlessly in search of his absent father, whom he intends to confront for abandoning him and his mother, in Devadoothan, Lal portrayed the role of a music teacher who returns to his alma mater, from which he was expelled years earlier, to prepare the current students for a national event. Despite sharing significant screen time alongside veteran Tamil actor Sivaji Ganesan in Oru Yathramozhi, Mohanlal ceaselessly seized opportunities to make his mark. With meticulous care, he breathed life into the character of Govindankutty, who may be a source of distress to outsiders but holds a special place in the hearts of those closest to him. Conversely, in Devadoothan, his portrayal of Vishal Krishnamoorthy resonated harmoniously with the rhythm of this enigmatic musical mystery-horror film, thereby elevating its overall quality. Mohanlal’s presence lent a magnetic allure to the character, ensuring that the film captured the audience’s imagination.
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In the 2000s, Mohanlal’s notable performances were few and far between. This was not only due to his poor script choices but also because the film industry was constantly churning out ludicrous content during that era.
Mohanlal on the sets of the Hindi film Company. (Express archive photo)
In the new millennium, Mohanlal’s first performance that went underappreciated was in the Hindi film Company (2002) directed by Ram Gopal Varma. In this movie, Lal portrayed the character of Veerappalli Sreenivasan IPS, the Commissioner of Mumbai City Police, who is determined to bring the underworld criminals under control. One of RGV’s best films to date, Lal’s portrayal of Veerappallil Srinivasan transcended all expectations, resonating with brilliance. While his co-stars Ajay Devgn and Vivek Oberoi commanded high-voltage sequences, Lal adhered to his trademark style, subtly immersing himself in his character’s depths. This approach created an impression that Srinivasan was a person who believed in catching the fish without getting his clothes wet, regardless of the magnitude of the catch. Through subtle glances, gestures, and a subdued delivery of dialogue, Mohanlal became the highlight of the film.
Although Udayon, directed by Bhadran, was not an exceptional film overall, Mohanlal’s portrayal of the 75-year-old farmer Suranadu Kunju, a deceitful and ruthless landlord, was truly remarkable. Lal underwent a complete transformation for the role of Suranadu Kunju, adopting a unique body language and speaking style rarely seen in his other films. Kunju became one of those rare characters that Lal mastered by immersing himself in the role rather than imposing his own persona. Despite being stuck in a string of mediocre films, Mohanlal’s decision to take on Udayon deserves commendation, as it prevented his body of work from this decade from appearing entirely dismal.
The remarkable talents of Mohanlal and Mammootty, which have placed them among the greatest actors of all time, stem from their profound ability to empathise with diverse characters and stories. (Express archive photo)
During the same decade, Lal took on four more unconventional roles that pushed his acting abilities to their limits: Vadakkumnadhan (2006) directed by Shajoon Kariyal, Paradesi (2007) directed by PT Kunju Muhammed, Pakal Nakshatrangal (2008) directed by Rajeev Nath, and Bhramaram (2009) directed by Blessy. All of these characters faced their own personal demons, whether internal struggles or challenges imposed by their circumstances. In Vadakkumnadhan, Lal portrayed Bharatha Pisharadi, a man diagnosed with bipolar disorder who must conceal his condition from his family. Paradesi revolved around Valiyakathu Moosa (played by Mohanlal), who moved to Karachi from Malabar in search of employment but is left without citizenship after India’s partition. In Pakal Nakshatrangal, Lal played Sidharthan, a cynical and self-absorbed intellectual filmmaker. In Bhramaram, he portrayed Sivankutty, a villager who was wrongly convicted of murder, forced to leave his hometown, and now seeks vengeance against those who betrayed him. Mohanlal delivered jaw-dropping performances as Sidharthan, Sivankutty, and Pisharadi who were haunted by mental health issues. Additionally, his depiction of the various stages of Moosa’s life in Paradesi was meticulous and awe-inspiring. He seamlessly transitioned from portraying the younger version of Moosa to capturing the essence of the character in his later years.
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One of Mohanlal’s most criminally underappreciated films in his career is arguably Pranayam (2011), which may be seen as the last time Mohanlal showcased his astonishing acting skills (although fans would strongly disagree). Pranayam tells an unconventional love story involving three individuals and stands out as one of the rare Indian movies that sensitively portrays romance among elderly people, emphasising their physical intimacy. Mohanlal portrays the character of Mathews, a retired college professor who has experienced partial paralysis due to a stroke. This film serves as a testament to Lal’s ability to excel in romantic scenes, particularly in his captivating interactions with Jaya Prada, who portrays his wife Grace, evoking the true essence of romance.
While Mohanlal delivered decent performances in his later films like Drishyam (2013) and Villain (2017), with some acclaiming specific scenes in Villain for his impeccable acting, it is difficult to label them as anything magical, considering the spectacular range of characters he had portrayed prior to them. Currently, the 63-year-old actor is involved in a series of ambitious projects, including Lijo Jose Pellissery’s Malaikottai Vaaliban, Jeethu Joseph’s Ram, and Prithviraj Sukumaran’s L2: Empuraan. Hopefully, these upcoming films will offer more astonishing performances from the veteran actor, and he will refrain from accepting mediocre roles solely based on the notion that “this is what fans want,” as the audience response often tells a different story.
Mohanlal on the sets of Vanaprastham. (Express archive photo)
Mohanlal on the sets of Rakthasakshikal Sindabad. (Express archive photo)
Mohanlal on the sets of Iniyenkilum. (Image: NFAI)
Mohanlal with actors Srividya and Revathi on the sets of Kattathe Kilikkoodu. (Image: NFAI)
Nita Ambani of Reliance group felicitates Mohanlal after his performance as Karna in the Sanskrit dance drama Karnabharam staged at the Leela Ballroom, 
Mohanlal with actor Ranjini on the sets of Mukham. (Express archive photo)
Mohanlal with actor Shari on the sets of Namukku Parkkan Munthirithoppukal. (Image: NFAI)
Mohanlal receives a memento from late Bollywood actor Shammi Kapoor. (Express archive photo)
Mohanlal with actor Tabu on the sets of Kaalapaani. (Express archive photo)
Mohanlal with late Tamil actor Sivaji Ganesan. (Express archive photo)
Mohanlal on the sets of the Hindi film Company. (Express archive photo)
The remarkable talents of Mohanlal and Mammootty, which have placed them among the greatest actors of all time, stem from their profound ability to empathise with diverse characters and stories. (Express archive photo)
Mohanlal is celebrating his 63rd birthday today.