Click here to follow Screen Digital on YouTube and stay updated with the latest from the world of cinema.
© IE Online Media Services Pvt Ltd
Tags:
Do you recall when Shah Rukh Khan, in an interview, discussed his hesitation to portray certain morally reprehensible characters? SRK explained that he feared he would inadvertently make such characters appear attractive and likeable, which he believed should be avoided as they shouldn’t be admired or glorified.
He is right. There is something about him that makes even the most despicable characters like Rahul Mehra in Darr (1993), Ajay/Vicky in Baazigar (1993), Vijay Agnihotri in Anjaam (1994), the titular role in the Don movies (2006 and 2011) and Gaurav Chandna in Fan (2016) seem appealing. Therefore, his decision to refrain from such roles to prevent their glorification is understandable. Nevertheless, this raises an important question: should it be dubbed as SRK’s strength or limitation?
An actor’s major weakness, which can lead to typecasting, occurs when they are proficient in portraying or choose only certain types of characters displaying familiar emotions, or when they struggle to embrace roles beyond their comfort zone. Even if an actor initially lacks the skill to play varied characters, consistent practice is key to improvement. An exemplary illustration of this is Malayalam megastar Mammootty, whose career serves as evidence that one can cultivate acting abilities through dedicated pursuit of the dream of becoming an actor.
Unlike his contemporary Mohanlal, who won hearts with his debut film itself, Mammootty initially showed little promise. Unless he worked on films directed by exceptional filmmakers, his performances often appeared below average.
Nevertheless, despite enduring consecutive setbacks and witnessing his peers achieve success before him, Mammootty did not give up. He wasn’t an accidental actor but rather someone who had come to stay. 52 years and three National Film Awards for Best Actor later, Mammootty remains one of the most promising actors in Malayalam cinema.
In fact, his performances in grey characters debunk SRK’s apprehension, highlighting that any actor can tackle such roles without rendering them appealing. Over the years, Mammootty, considered the epitome of Malayali masculinity and allure, has portrayed some of the most despicable antagonists, yet they never exuded charm, thus avoiding glorification and the latest example is Rahul Sadasivan’s Bramayugam. With absolute precision and by extracting the deepest, darkest facets of the characters, and smearing it all over his face, leaving no hint of his real self visible, Mammootty has consistently excelled in performing antagonist characters and layered roles with heavy shades of grey.
Yet, this talent wasn’t mastered overnight. Mammootty’s first role as the main antagonist, Kamaran, was in Jijo Punnoose’s epic period drama Padayottam (1982). Despite his current acclaim for remarkable dialogue delivery and commanding body language, his performance in Padayottam was quite caricaturish.
Nevertheless, he diligently addressed his shortcomings and displayed improvement in KG George’s Lekhayude Maranam Oru Flashback (1983), where he portrayed a flirtatious superstar, effectively highlighting the character’s cynical nature and thus, demonstrating his evolving skills.
In P Padmarajan’s Koodevide (1983), he took it up a notch as Captain Thomas, the hero-turned-villain. Unlike his previous roles where he struggled to convey emotions with restraint, Mammootty here adeptly navigated a range of emotions. When the film begins, the Army officer is shown as a very ordinary man, leading a rather mundane life and in love with his colleague’s sister Alice (Suhasini). Their endearing romantic interactions highlighted Mammootty’s untapped potential.
But particularly impressive was his depiction of Thomas’ jealousy, triggered by Alice’s close bond with one of her students, a mother-son-like one which Thomas misconstrues as romantic. Mammootty skillfully showcased Thomas’ descent into villainy, capturing his character’s sinister demeanour and willingness to go the extra mile to win Alice’s affection just for himself.
When it came to Padmarajan’s Kariyilakkattu Pole (1986), he was more proficient, capable of handling complex emotions and juggling between their extremes in the blink of an eye. A renowned filmmaker who’s a notorious womaniser too, Harikrishnan’s (Mammootty) story is unveiled through the police’s interactions with various people following the director’s murder, kind of like the Rashomon Effect. While most dubbed him as pure evil, willing to go to any lengths for his gratification, for one person, he was anything but that.
From the rigidity of a film director and the arrogance of a celebrity to the brutality of a rapist and the inner turmoil of a guilt-ridden father, Mammootty sharply depicted the many facets of Harikrishnan with commendable efficiency while ensuring that it remained nuanced. This added depth to the well-crafted film and was particularly evident in the poignant father-daughter scenes and the intense climax.
A man with no known Achilles heel. The epitome of power. A sinister figure who derives pleasure from inflicting pain on others, both physically and mentally. The embodiment of evil. Even these descriptions don’t fully explain Baskara Pattelar’s true villainy. This is not solely due to Adoor Gopalakrishnan’s masterful screenplay in Vidheyan (1994), but also thanks to Mammootty’s exceptional portrayal, arguably making Pattelar Malayalam’s most despicable antagonist. In the opening scene, Pattelar can be seen entertaining himself by attacking Thommi (MR Gopakumar) and asking Thommi if his wife is attractive enough to satisfy Pattelar physically. Mammootty’s performance here is unprecedented, radiating a demonic aura, and his chilling laughter is unlike any heard from him before.
His skill in effectively using dialects came in handy here as he aced the South Canara one, while also adding an extra layer of bass to his voice. Even in Pattelar’s body language, Mammootty ensured that his ruthless nature was evident. In one scene, he is seen mercilessly kicking a man of lowered caste to the ground, aiming for the face without showing any sympathy or concern for potential harm. As he continues kicking the man, already on the ground, his hands seldom move to maintain balance, denoting that he is a pro at it. Mammootty effortlessly presented Pattelar with such nuances throughout.
In Ranjith’s Paleri Manikyam: Oru Pathirakolapathakathinte Katha (2009), Mammootty portrayed not one but two grey characters, distinct in their mannerisms yet connected by their malevolence. With a blend of lust for blood and women, Murikkinkunnath Ahmed Haaji was an overt monster, while his son Khalid Ahmed embodied a more sophisticated evil, his crimes hidden from the outside world.
Despite their blood relation, Mammootty ensured that they were as distinct as possible, yet shared few similarities. This was particularly challenging since the film, unlike its base novel, did not provide Khalid Ahmed with much of a backstory, which is crucial for understanding the behaviour of villains. Although Khalid appeared only briefly towards the end of the movie, Mammootty effectively conveyed both his sophistication and monstrosity. Additionally, the manner in which he portrayed Ahmed Haaji, a worthy opponent for Pattelar, was unique, with attention to his evolving mannerisms as he aged.
In Venu’s Munnariyippu (2014), Mammootty portrayed CK Raghavan, a villain who had clear justifications for his actions that were driven by a desire for a peaceful life. Raghavan, like Brooks Hatlen in Frank Darabont’s The Shawshank Redemption (1994), finds his true freedom only in prison. In contrast to Brooks, Raghavan refuses to give up and is determined to weed out anything or anyone standing between him and his freedom. Despite being depicted as an elderly man bound by the demands and rules of the outside world, Mammootty subverted this image with a single smile towards the end, revealing the grey of his character.
Upon reflection or rewatching the film, Raghavan’s actions and expressions in the initial part become clearer. Mammootty played Raghavan with moderation, emphasising how the outside world confined him. His eerie smile, in particular, differed significantly from Pattelar’s, making one wonder if he had discovered a new one.
On the other hand, in Ratheena PT’s Puzhu (2022), Mammootty portrayed Kuttan, an ex-cop who views himself as a victim because others are not caste bigots like him. Fuelled by caste hatred, particularly towards his sister Bharathi (Parvathy) for marrying Kuttappan (Appunni Sasi), a man from a lowered caste, Kuttan is the kind of character who would have easily been portrayed as a hero in the ’90s. However, Ratheena skillfully upended this archetype and Mammootty ensured that he presented Kuttan authentically, capturing his sense of “victimhood” while also depicting him as a villain with finesse.
Mammootty delivered a stunning sophisticated performance, especially in moments where Kuttan struggles and fumes internally, witnessing Bharathi’s happiness in her casteless marriage and his son Kichu growing close to them in a way that he cannot relate to, where he is unable to erupt as it would damage his “victim” image. The actor effectively conveyed Kuttan’s cunningness and his capacity to erupt in a subtle yet remarkable manner.
On the other hand, in Kamal’s Azhakiya Ravanan (1996), Priyadarshan’s Megham (1999), Ranjith’s Black (2004), Nissam Basheer’s Rorschach (2022) and Midhun Manuel Thomas’ Abraham Ozler (2024), though his characters had heavy shades of grey, their vile sides were mostly triggered by personal tragedies and cannot be dubbed as complete villains. Yet, the actor ensured that each character is distinct and rooted in their environment and life experiences.
Including in Rahul Sadasivan’s Bramayugam, Mammootty’s performances, especially in grey roles, stand out for several reasons. Firstly, he effectively immerses himself in his characters and stays true to their emotions. He has always treated each role as unique, dissociating them as much as possible from his true self, and unravelling their emotions and gestures during his pursuit of finding them.
Additionally, his nuances ensure that the villainy of his characters is unmistakable and utterly detestable, which is also probably why almost no two characters of his, especially the antagonists, bear resemblances or emote similarly.
Thus, Mammootty has consistently demonstrated that when an actor fully embodies a character, understanding its essence and motivations and sets aside their self and star image, the character speaks for itself, allowing viewers to form their own judgments. In Bramayugam too, viewers are never charmed by his character, highlighting Mammootty’s skill in portraying complex and vile roles, not making them likeable.
Mammootty once said, “I came into the industry aspiring to become at least a Marlon Brando. But I just ended up being a Mammootty instead.” He might have used his name here to imply that he did not reach great heights. However, the manner in which he has portrayed grey characters itself, each distinct and devoid of charm, underscores that Mammootty is a benchmark for actors to aspire to.
Click here to follow Screen Digital on YouTube and stay updated with the latest from the world of cinema.
