Siddique no more: Adieu to the director who taught us comedy is omnipresent and omnipotent

They also established that this approach only succeeded when the characters were relatable to everyday individuals, sharing attributes, life experiences, and emotions akin to those encountered in our daily interactions. With just five movies created over seven years, the Siddique-Lal duo established a fresh benchmark for modern comedy, a pinnacle that endures even now, despite the passage of 27 years.

Unfortunately, one of the two maestros, Siddique Ismail, passed away in Ernakulam on Tuesday, leaving behind a lasting legacy.

Siddique’s legacy extends beyond just the realm of the Malayalam film industry. If you’re familiar with titles like Hera Pheri, Arangetra Velai, Parda Hai Parda, MGR Nagaril, Dhol, Nagaradalli Nayakaru, Peddarikam, Hulchul, Pandavaru, Meesai Madhavan, Bhagam Bhag, Brahmanandam Drama Company, Sadhu Miranda, Maaro, Hitler, Krodh, Military, or Varsha, then you’re already acquainted with Siddique, as all these movies are remakes of works crafted by the Siddique-Lal duo in the Malayalam film domain. As such, this undoubtedly represents a significant loss for the entirety of Indian cinema.

Emerging from Cochin Kalabhavan, an institution in Kerala renowned for nurturing performing arts talents that have significantly enriched the state’s artistic landscape, Siddique shone brightly as a member of its mimicry ensemble. Side by side with fellow artists of his generation, Siddique played a pivotal role in elevating mimicry to an esteemed art form within Kerala’s cultural sphere, thereby laying the groundwork for numerous other talents to emerge in the subsequent years.

During their days at Cochin Kalabhavan, Siddique and Lal had the opportunity to meet the legendary filmmaker Fazil with a story to share. Although Fazil was greatly amused by their story, he chose not to pursue it as it significantly diverged from his cinematic style. Nevertheless, they became Fazil’s assistants and worked in movies like Nokkethadhoorathu Kannum Nattu (1984) and Ennennum Kannettante (1986). It didn’t take long for their names to gain prominence on the screen. With Fazil’s guidance, they had the chance to present the same story to director Sathyan Anthikad. He took a liking to it and transformed it into the film Pappan Priyappetta Pappan, with Siddique and Lal penning both the screenplay and dialogues.

Although the movie didn’t perform well at the box office, it did grant them enough recognition to solidify their presence in the industry. This recognition allowed the duo to share another story with director Sathyan Anthikad and his frequent collaborator, actor-writer Sreenivasan. However, this meeting led to the beginning of significant controversy, as Sreenivasan and Sathyan Anthikad reportedly extracted only certain elements from Siddique and Lal’s narrative and reworked them into a new script without the duo’s knowledge. This script eventually became the cherished Malayalam film Nadodikkattu. While Siddique and Lal were acknowledged for providing the story idea, they were discontented that the makers of Nadodikkattu developed an entirely new script from their idea without their consent.

In one episode of the talk show JB Junction, Lal mentioned that it was Fazil who advised them to let go of the matter without pursuing legal action, citing their newcomer status and the potential negative impact of such controversies on their careers. Nonetheless, Lal remarked that this experience instilled in them the confidence that their stories were valuable and resonated with audiences.

Two years after the release of Nadodikkattu, Siddique-Lal made a significant impact on the hearts of Malayali viewers with their exceptional comedy Ramji Rao Speaking, which marked the duo’s directorial debut and is now regarded as one of the film industry’s finest comedic creations. The story revolves around two jobless youths and a floundering drama troupe proprietor. The movie skillfully delves into the depths of the challenges faced by Kerala’s youth in securing employment, capturing the extent of their adversity and the resultant turn towards minor misdemeanours for sustenance. But what made the significant was the fact that all of these intricate elements were deftly woven into the fabric of humour.

Although Malayalam cinema had a strong comedic tradition, Ramji Rao Speaking presented an entirely novel approach that banked on situational comedy. It diverged from previous conventions by ingeniously integrating humour into the ordinary and fleeting moments of the characters’ daily lives, all without resorting to exaggerated elements or fabricated instances.

The scene where the drama troupe owner Mathai (Innocent) meets Balakrishnan (Sai Kumar) for the first time serves as a prime example of this. Mathai, who is clearly financially struggling, receives a phone call from an unknown person inquiring about someone named Urumees Thampan. Even after Mathai clarifies that it’s a wrong number, the caller persistently dials again immediately, leading Mathai to humorously respond with, “Urumees Thampan died a few moments ago.” When asked, “When?” he retorts, “It’s only been 10 minutes, should we inform him something?” before hanging up. It’s right after this exchange that Balakrishnan arrives to meet Mathai. When Balakrishnan questions if he is Mathai, the latter humorously replies, “No, I am Urumees Thampan. Any doubts?” However, Mathai’s demeanour promptly shifts when he realises that Balakrishnan has come to book a drama show. This scene illustrates how Siddique and Lal adeptly integrate humour into natural situations, seamlessly avoiding any forced comedic elements.

Ramji Rao Speaking wasn’t only a triumph at the box office, but it also carved out a special place in the affection of moviegoers and has led to the creation of two sequels, Mannar Mathai Speaking (1995) and Mannar Mathai Speaking 2 (2014). Furthermore, it sparked a series of remakes in various languages, including Hindi (Hera Pheri), Telugu (Dhanalakshmi, I Love You), Kannada (Trin Trin), Odia (Wrong Number!), and Punjabi (Gol Gappe).

Siddique and Lal’s creative journey didn’t conclude there; they made a comeback with a sequence of consecutive blockbusters: In Harihar Nagar (1990), Godfather (1991), and the Mohanlal-starrer Vietnam Colony (1992). These movies stand as equally commendable illustrations of their ability to master both comedy and narratives inspired by real-life incidents. The noteworthy aspect is that all of these films revolved around captivating stories that resonated with the audience, and their moments never felt exaggerated or overly dramatic. This aspect enhanced their appeal, and the seamless integration of comedy into these narratives added to their remarkable appeal.

In the realms of bromance and thrillers, In Harihar Nagar stands as the epitome. Conversely, Godfather, with its unparalleled streak of running for 417 days in theatres, continues to serve as a yardstick for family-oriented comedy dramas. It skillfully delves into the intricate bonds between a father and his sons, while also shedding light on the potential repercussions of strict upbringing. Meanwhile, Vietnam Colony vividly portrays the existence of economically marginalised people dwelling in compact colonies.

Siddique-Lal’s subsequent and final joint venture, Kabooliwala, strikes a balance between comedy and tragedy. Its narrative centres on a young man who is brought up by a Kabooli after being abducted from his biological parents. Additionally, the film sheds light on the harsh treatment that society metes out to ragpickers and those in poverty. While humour remains an integral part of the movie, Kabooliwala gradually evokes strong emotions, culminating in a heartrending climax that leaves a lump in the viewer’s throat.

Between Vietnam Colony and Kabooliwala, Siddique and Lal collaborated to pen the story and screenplay for Paulson’s Makkal Mahatmyam. They also assumed the role of second-unit directors for their mentor Fazil’s magnum opus Manichithrathazhu. Subsequently, they authored a sequel for Ramji Rao Speaking, titled Mannar Mathai Speaking, directed by Mani C Kappan.

Siddique embarked on his individual journey by helming the Mammootty-starrer Hitler, which also emerged as a blockbuster, cementing his reputation in the industry. The film was bankrolled by Lal himself under the banner of Lal Productions. Meanwhile, Siddique also crafted the story for Kamal’s film Ayaal Katha Ezhuthukayanu (1998), which featured Mohanlal in the lead role.

Following this, he returned with yet another directorial titled Friends, starring Jayaram, Mukesh, and Sreenivasan as the protagonists. Centred around the amusing yet emotionally resonant relationships among three friends, the film captivated the hearts of not just Malayalis but also others, owing to its exceptionally entertaining and touching narrative. With Friends, Siddique adeptly demonstrated his ability to excel individually and reach new heights. The movie resonated so strongly that it led to an opportunity for him to remake it in Tamil, featuring Vijay, Suriya, and Ramesh Khanna in the lead roles, which also turned out to be a resounding success.

In 2003, Siddique returned with another box-office hit, Chronic Bachelor, starring Mammootty as the protagonist. The film narrates the story of a wealthy man who secretly supports his step-sister’s education without her knowledge. Its release coincided with a period when Mammootty was eagerly seeking a hit after facing a series of consecutive failures. Packed with incredibly funny scenes that continue to amuse audiences, Chronic Bachelor holds a special place in the hearts of many and is frequently revisited by moviegoers. Siddique also remade the film in Tamil, Engal Anna, with Vijayakanth in the lead role.

Prior to embarking on his subsequent Malayalam directorial project, Siddique directed another Tamil film, Sadhu Miranda (2008), loosely based on his Mannar Mathai Speaking. He also created a Telugu version titled Maaro in 2005, although the film saw its release much later in 2011.

After a gap of seven years, Siddique made a triumphant return with another resounding hit, Bodyguard. The movie featured Dileep and Nayanthara in the lead roles and marked Nayanthara’s reentry into Malayalam cinema after a four-year hiatus. While the film achieved significant success in the Malayalam market, Siddique also seized the opportunity to remake it in Tamil as Kaavalan and in Hindi as Bodyguard. The Tamil version, Kaavalan, starring Vijay and Asin, also garnered considerable box-office success. However, it was the Hindi adaptation, Bodyguard, featuring Salman Khan and Kareena Kapoor Khan, that truly reached unparalleled heights. Benefitting from the “Bhai factor” and the film’s engaging and comical storyline, the Hindi iteration raked in more than Rs 250 crore at the box office. The movie’s popularity extended further, as it was remade with the same title in Telugu, starring Venkatesh and Trisha, and in Kannada.

Despite the lacklustre performance of Siddique’s subsequent directorial, the Mohanlal-starrer Ladies and Gentleman (2013), he made a triumphant comeback in 2015 with Bhaskar the Rascal, starring Mammootty and Nayanthara, setting the box office ablaze once more. He also remade it in Tamil as Bhaskar Oru Rascal (2018), starring Arvind Swamy and Amala Paul.

In 2016, after a hiatus of 22 years, Siddique teamed up with his former collaborator Lal once again, this time co-authoring the screenplay for King Liar (Dir. Lal). The film also achieved success at the box office.

Even though Siddique’s subsequent endeavours, Fukri (2017) and Big Brother (2020), which turned out to be his final directorial work, didn’t attain the anticipated success, his renown remained undiminished. The affection and esteem that Malayalis held for him were so significant that the name “Siddique–Lal” continues to resonate as a household reference.

With Siddique’s departure, a distinct era has drawn to a close. Farewell, ikka!