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Flix FlashbackNo one could have envisaged 'Vaisali' in this beautiful form. Not then. Not now. Neelima MenonVultures fighting for their pound of flesh, a King Cobra slithering out of the mouth of a human skull, crows cavorting in the sky, dusty barren trails, flanked by rocky foothills —Vaisali unspools almost ghoulishly, signifying a parched landscape. Weary men, women, and children greedily reach for the water bags tied over donkeys, even as the King’s soldiers shoo them away. King Lomapadan, tall and stately, sits despondently in his chariot, watching the earth and humans around him wilting under the sun, dying for a drop of water. But there is a stark dichotomy in that opening shot, almost like a vacant canvas, biding its time to be streaked in colours. The film in fact is textured like a series of delicate lifelike oil paintings, each frame leisurely sliding away to reveal multiple hues,...

MollywoodFrom Pj Antony to Surabhi Lakshmi, here is a list of talented actors who made their way to movies from theatre.Aradhya KurupWhere did they come from? Those life-like characters, those people who made our favourite films whole merely by their presence. Give them one dialogue, one scene, one act - they make sure it holds meaning in the viewer’s mind. Where did they come from? Theatre, of course! Not in any particular order. 1. Pj Antony: The first Malayalam actor to win the National award Antony was a force to reckon with in professional theatre. He primarily worked with Kpac, known for their communist leanings in drama and established his own theatre in Kochi called Pratibha Theatres. Antony has appeared in over 60 films, besides dabbling in direction, scripting, short stories, novels, poems and lyrics. 2. Sathyan: After serving in the Indian army during World War II and later working as a police officer,...

Flix FlashbackVani Vishwanath played Susanna in this 2000 film, a woman who is in a relationship with five men. Neelima MenonDirected by TV Chandran, Susanna, which released in 2000, is the fifth film in a filmography of a director who has strictly adhered to the offbeat genre. Susanna is often talked about as a wicked spin on Mahabharata's Draupadi, though purists may take offence. Here, we look at the possible layers in the film, and analyse the story and the storytelling, its possibilities, shortcomings and more... The film begins with the long shot of a man and woman making love in the middle of a forest, with a voiceover from Susanna (Vani Vishwanath), who is now middle-aged with grey strands of hair. She is narrating her life story to a young man who, we are told a little later, is the son of one of her lovers. The man she was making...

MollywoodDid you know that Padmapriya worked as a risk consultant for Ge Capital? Or that Sukumaran was an English professor?Neelima MenonVery few popular actors in our industries go through routes that are typical of other professions - an acting school and years of getting trained, eventually leading to a degree of some sort. In fact, most of the actors who have made it big have professional histories that rarely have anything to do with acting. Here's a list of the day jobs that some well-known actors tossed away before turning to acting. Mammootty: After completing Llb from Ernakulam Law College, he was practising for two years at Manjeri. He has often spoken about how he would visit directors for acting opportunities during this period and finally made his debut in Vilkkanundu Swapnangal in 1980. He is also the chairman of Malayalam Communications, which runs Kairali TV. Nivin Pauly: After...

MollywoodDid you know that films like 'Thondimuthalum Driksakshiyum', 'Vaishali' etc had dubbing artistes lending their voices for the critically acclaimed performances?Anindita MenonWhat you see is most likely not what you get. Raise your hands if you grew up wondering why Shobana, Revathi and Divya Unni sounded the same, and were yet so different. Raise your hands if you won the bet about Anupam Kher sounding like Rizabawa in Pranayam. Now check out our list of the top ten acts helmed by the most excellent dubbing artists. Don’t forget to add your own to the list! 1) Babu Antony in Vaishali (Narendra Prasad):True, Babu Antony did succeed in lending a royal bearing to Lomapada Rajavu but the rest was all veteran actor Narendra Prasad’s hard work. It’s his deep baritone that lent credibility and depth to the charisma of the king. 2) Nimisha Sajayan in Eeda (Sneha):...

MollywoodFrom tyrants to gentle protectors, Malayalam cinema has given us some memorable father characters and the relationships they share with their sons.Sandeep NarayananFathers and sons share a contentious relationship. It is fraught with the burden of expectation, hopes and dreams of two individuals that rarely match. All the tension caused by complex relationships might not be the ideal situation to be in in real life but it definitely makes for some cinematic powder keg. Malayalam cinema has always been at the forefront of realistic depictions and there have been some memorable father and son relationships explored on the silver screen. Here is a look at a few of them. Kireedam (1989) One of my personal favourites, this has to be one of the most powerful roles Mohanlal has essayed in his checkered career. Mohanlal plays a youngster named Sethumadhavan and like any youngster he has ambitions of making it big in life. His father, Achuthan Nair (Thilakan) who is a police constable, wants him to become a police officer. Achuthan Nair dotes on his son and they share a very amiable relationship. But both their dreams and aspirations are shattered when Sethumadhavan gets involved in an unfortunate altercation with a local goon. This marks the beginning of what becomes a strained relationship between father and son. The people of the town “crown” Sethumadhavan as their saviour and the rest of the movie charts how he unwittingly descends into criminality. His once doting father, who is torn between duty and love for his son, eventually brands him as a criminal and severs all ties with his son. Heart-rending and sensitive, this movie is a lesson in the layered relationship one often shares with their loved ones. Spadikam (1995) The name Aadu Thoma might not mean anything to a non–Malyali, but to a Malayali, it will evoke images of Mohanlal in RayBan sunglasses and mouthing crowd pleasing dialogues. In the garb of a mass entertainer, director Bhadran tells the story of a son gone rogue because he couldn’t meet his father’s expectations. Chacko Master (played by the inimitable Thilakan) is a respectable school teacher who believes that “mathematics is the pulse of the universe” and when he finds out that his only son Thoma is bad at it, he declares him a failure and reprimands him in every possible manner. Thoma becomes resentful of his father and turns into a thug, filled with anger against authority of any kind. Thilakan’s portrayal of a narcissistic father whose self righteousness scars his son for life is fabulous. This movie shows that sometimes how even well intentioned fathers can unknowingly ruin their sons lives. Deshadanam (1997) Deshadanam tells the story of a carefree boy named Pachu born into a Namboothiri family, who shows a maturity beyond his age when it comes to religious texts and philosophies. A holy seer identifies this talent and wants to take him to the mutt to become the next Holy Guru ( a monk essentially). His parents are not keen on sending him to the mutt as it would mean that Pachu would have to renounce all things material and leave them behind as well. In what is arguably Vijayraghavan’s best role to date, he plays the helpless father who has the unenviable task of consoling his wife and also make his son understand as to why he has to leave them. The personal battles he has to fight with himself to let go of his son are both spellbinding and filled with anguish. Deeply emotional and heartbreaking, this film is a tearjerker. Paithrukam (1993) Father and son relationships are often a clash of ideologies and beliefs. Devadathan Chemmathiripadu (Narendra Prasad) is a Vedic scholar who has attained Somayagam. He has two sons Somadattan (Suresh Gopi) and Chithrabhanu ( Jayaram). Somadattan is a journalist and an atheist who is against all things religious and believes that superstition has no place in the modern world, whereas his brother follows the path of his father. Trouble starts brewing when Somadattan starts propagating atheism amongst the villagers and this brings Devadathan Chemmathiripadu and him at loggerheads. The rest of the film is about the relationship between the father and his sons, set to the background of atheism versus religious beliefs. It is a fabulous exploration of relationships and beliefs. How far would one go to protect what one believes in? What are the costs one is ready to pay along the way? This is a brilliant piece of work that deserves to be watched. Veendum Chila Veetukaryangal (1999) This film is not what one would call a very realistic depiction of a relationship between a father and son but I truly believe no conversation about cinema and father son stories is complete without mentioning this little gem of a story. The film revolves around Thirumuttathu Kochuthoma ( Thilakan) and his youngest son Roy (Jayaram), they share a deep and rare bond going beyond the usual archetypes and boundaries, this father- son duo are like friends but slowly Kochuthoma realises that he might be enabling his son to not be independent and responsible. What follows is a rather elaborate, though a tad unrealistic, drama that Kochuthoma plays out for his son.The film has beautiful moments and is a touching story which remains a family favourite amongst the Malayalees A few other films that deserve special mention are Piravi, which is the journey of a father looking for his missing son and is based on a true story. Balachandra Menon’s Samantharangal which is a tale of a clash between an honest father and his corrupt son and Perumthachan, written by M.T.Vasudevan Nair, which tells the story of a carpenter and his son Kannan and the problems caused by a generation gap and shift in traditions. Also read: Second teaser of Mohanlal's 'Odiyan' out...

MollywoodThese stars have made handsome contributions but have remained unrecognised throughout their careers.CV AravindIn the Malayalam film industry, only the so-called upper crust of actors have always remained in the limelight. Also, the industry has always adopted different yardsticks for its male and women actors. Over the years, however, there is a long list of unsung stars who have made handsome contributions but have remained unrecognised right through their careers. Chemmeen, directed by Ramu Kariat, won the President’s Gold Medal for Best Film in 1965 at the National Awards. The film could qualify as one of the earliest multi-starrers with most industry folk landing roles in it thanks to its wide canvas. Two characters in this epic novel by Jnanpith Award winning writer Thakazhi Sivasankara Pillai were those of Chemban Kunju and his wife Chakki Marakkaiyi. Kariat chose veterans Kottarakkara Sreedharan Nair and Adoor Bhavani for the roles and they turned in superlative performances. But the portrayals by these two actors remained unheralded. Incidentally Sreedharan Nair’s son Saikumar remains one of the most popular villains in Malayalam cinema and also excels in character roles. One of Mollywood’s mainstays where story and scriptwriting is concerned has been another Jnanpith awardee Mt Vasudevan Nair, who has also directed well-known films such as Nirmalyam (1973) and Oru Chiru Punchiri (2000). In Nirmalyam, theatre artiste Pj Anthony, from whom the late Thilakan picked up his craft, was cast in the main role of a velichapad (oracle). The most riveting sequence in the film was the climax. Sword in hand, the character approaches the idol of the goddess who had failed him and his family. With great deliberation he draws the sword across his forehead and begins to bleed profusely. Gathering spittle in his mouth he spews it in a blob mingled with his blood at the deity, collapses in a heap and dies. One wonders whether a scene like this can get past the censors in today’s India. Antony won the National Award for Best Actor that year. He revealed his angst at the raw deal that he had been receiving at the hands of the industry in his acceptance speech. Another actor who could have been utilised much better was the late Premji, who enacted the role of Professor Eachera Warrier, the grief-stricken father of student Rajan, a victim of the Emergency in Piravi (1989). The directorial debut of cinematographer Shaji N Karun, it fetched Premji a National Award but the publicity remained low-key. One actor whose long career witnessed several highs and lows was undoubtedly Thilakan, who had to serve an unofficial ban after some industry bigwigs took offence at some remarks he made. There was a time when Thilakan, who began with small, insignificant roles in films, had become indispensable. And rightly so, for very few of his contemporaries could hold a candle to him where portrayals of diverse characters were concerned. Can one imagine films like Rithubhedam, Mookilla Rajyathu or Spadikam without Thilakan? Directors like Vinayan who too had to face the industry’s wrath on various occasions ensured that Thilakan remained a part of all his films. Director Ranjith, who cast Thilakan as Dulquer Salmaan’s grandfather in his film Ustad Hotel, when questioned on opting for the actor reportedly stood up to the actor’s detractors and demanded that they produce a better actor than Thilakan for the role he had in mind. Thilakan’s contemporaries including the likes of the late Narendra Prasad, no mean actor himself, had the highest regard for him. Thilakan’s departure from the scene has left a void that is yet to be filled. Among underrated actors in Malayalam cinema, the comedians deserve a notable mention. One of the most successful comedians was Jagathy Sreekumar, who was seriously injured in a car accident in 2012 and still remains out of action eight years later. Jagathy was always a delight to watch on screen and, in tandem with actors like Innocent, could bring the roof down with their antics. The laugh riot Kabooliwala, which featured the duo, still remains green in memory. Two comedians who nailed the lie that comics in Malayalam films were good only at slapstick and buffoonery were Salim Kumar and Suraj Venjaramoodu, both National Award winners. Salim won his award for Adaminte Makan Abu, a moving film about a poor man who yearns to go on the Haj against heavy odds. His role in Achanurangatha Veedu as an anguished father whose daughter is trafficked and raped was no less memorable. Suraj proved that he could deliver in serious roles with the Dr Biju directed Perariyathavar, which fetched him several awards including the National Award. Cast as a municipal sweeper, Suraj simply lived the role. In more recent times he did a wonderful job in Dileesh Pothan’s Thondimuthalum Driksakshiyum. Such roles have, however, been few and far in between and with the films failing to cut ice with the masses it is back to square one for these fine actors. Siddique (not to be mistaken for the reputed director of the same name) is another actor who has been around for over three decades but is yet to make it to the top bracket. There is hardly any kind of role that Siddique has not done; in some films he has even donned multiple disguises. Like another star who now does character roles after playing the hero for decades, Nedumudi Venu who remains an inevitable part of most films, Siddique too has never had a dearth of assignments. But where star ratings are concerned, Siddique has never been able to rise to the heights of his contemporaries like Mammootty or Mohanlal though he has been an integral part of most of their films. Script and screenplay specialist, actor, director and producer Sreenivasan is another star performer who has given the industry several hits in all capacities. Although his forte has remained the comedy genre, Sreenivasan has also played the hero with aplomb. Films like Sandesham and Mazhayethum Munpe fetched him state awards for Best Screenplay. Sreeni’s son Vineet has now established himself as a singer, actor and director as well and his other son Dhyaan too has followed in his father and brother’s footsteps. It is only in recent times that heroine oriented films have caught on in Mollywood thanks largely to the ability of actors like Manju Warrier, Rima Kallingal and Parvathi Thiruvoth to carry a film on their shoulders. Sharada, a brilliant two-time National Award winning actor, remained in the shadow of superstars like Sathyan and Prem Nazir. It was the late cinematographer-director Vincent who cast her in a woman-oriented film, Thulabharam. Sukumari, a gifted dancer and actor, cousin of the famous Travancore sisters Lalitha, Padmini and Ragini, and director Bharathan’s wife, and Kpac Lalitha, a versatile actor in her own right, are two stars who remained in the periphery right through their long careers. Seema was not director IV Sasi’s first choice for his bold, pathbreaking film Avalude Ravukal. The story of a woman who turns sex worker was pitched to many heroines but Sasi drew a blank as not only was the subject taboo but there were quite a few risqué scenes as well. The film became a blockbuster and Seema was flooded with roles. The one-time background dancer in films would later prove her mettle in the Mt Vasudevan Nair scripted Aaroodam, directed again by Sasi, whom she married. Sasi’s Aalkkoottathil Thaniye was another film in which she delivered a stunning performance. Seema later faded away and was last seen in Tamil TV serials. The petite Jalaja too was another dignified performer in the 1970s and 80s. Introduced by the late Aravindan in Thampu, Jalaja went on to work with ace directors like Lenin Rajendran in Venal and Adoor Gopalakrishnan in Elippathayam. The Malayalam film industry boasts of some of the finest acting talent in Indian cinema. But Dame Luck smiles only on a few of them. But the rest, far from being disheartened, have always laboured with sincerity and devotion to their craft. And their contribution to the industry’s growth has been nothing short of phenomenal. Also read: Her story: 12 Malayalam films where women characters have their own arc...

Bollywood legends Amitabh Bachchan and Dilip Kumar have been conferred with the Padma Vibushan awards; the second highest civilian award in India. Fans of 72 year old Bachchan have long called for the Indian government to award him the Bharat Ratna, which is the highest civilian award in India, but will have to settle for the Padma Vibhushan instead. 92 year old Dilip Kumar is being acknowledged for his services to the arts and cinema and is widely regarded as one of India’s greatest actors. The government have also conferred awards to some non-Indians; most notably Bill Gates and Melinda Gates for their contributions towards social work and charity. The Padma Awards will being handed out to the winners around March/April of this year so stay tuned!

Check out the full list of winners below!

Padma Vibhushan:

1 Lk Advani- Public Affairs- Gujarat

2 Amitabh Bachchan- Art- Maharashtra

3 Prakash Singh...