A report in the Mathrubhumi group’s online platform, early this month, quotes globally-acclaimed cinematographer Renato Berta’s comments about Mohanlal, ace Malayalam actor who was recently honoured by the nation with the Dadasaheb Phalke Award, the highest recognition for cinema in the country.

Citing Mohanlal’s acting in ‘Vanaprastham,’ the 1999 Indo-French film production in Malayalam language, directed by Shaji N. Karun, for which Berta and Santosh Sivan handled the camera, Berta describes Mohanlal as an “actor born in the wrong corner of the world.”

Berta reminisces to Mathrubhumi about his astonishment to see Mohanlal learning complex Kathakali sequences and transforming effortlessly from lighter banter with the crew before the heavy shots and effortlessly transforming to the character as soon as the camera is set to action. Amazed at his seamless character embodiment and imbibing of the subtlest of nuances, Berta remarks that “had the geographical ‘location’ been right, Mohanlal would have won an Oscar.”

Image: A still from Pulimurugan, which reportedly was the first Malayalam movie to cross the 100 crore mark

While Berta’s comments were based on his experiences in the western world, where actors engaged in meticulous preparations before ‘heavy shots,’ Mohanlal, according to this report, rejected the comment, stating that he was born in the right place, which “allowed me to perform so many diverse roles and collaborate with such extraordinary talents.”

Even if seen without an intuitive bias, Berta’s observation may only reflect the insular Western approach to world cinema, which has failed to assimilate and recognise the talent in the Orient, other than a few instances like Hollywood’s adoption of immigrant artists and the forays made by actors from Hong Kong.

Apart from the imprint made by Indian immigrants in Western cinema, only a few like Kabir Bedi, Irfan Khan and Om Puri form the meager list of Indian talents that were tapped by the European and American studios.  

Western cinema, therefore, is to be blamed if performers like Kamal Hassan, Mohanlal, Mammooty and Naseeruddin Shah, among others, missed the arc lights of American and European productions. As a matter of fact, India boasts a rich repository of cinematic talent, whether it is of auteurs or artists.

While Mohanlal happens to be one from this genial artistic pool, he has stood out for his versatility and performative depth, which very few of his generation, like Kamal Hassan and Mammooty, for instance, could emulate with consummate ease. His instincts for rapid character transformations, as alluded to by Berta and also widely endorsed across the Indian film industry, and his ability to excel in portrayals across genres with equal finesse are pivotal elements of his distinct school.

With just a quick glance, Mohanlal can convey the lightness of an absurdity; with the same steady gaze, he can express despair and fury. When the screen erupts, Mohanlal does not just channel the rage; he embodies it with a precision that hints at something quite terrifying. What makes his craft so captivating is the effortless façade his eyes seem to maintain, exploring the hidden layers of the characters he portrays and revealing their contradictions, failures, and small victories.

Exhibiting all human emotions in their entirety, through the skilled expositions of the rasas, makes an actor complete in all respects, which could have earned Mohanlal the moniker of ‘the complete actor.’

These exploits have been illustrated in a multitude of characters: be it intense manifestations of human behavioural complexities and mental conflicts in movies ranging from Vanaprashtam, Aham, Sadayam, Ulsavapittennu, Amritham Gamaya to Thanmathra, or the chronicler of human plight and fatalism in films like Vasthuhara, Panchagni, Chithram, Dasaratham, Kireedam, Bharatham, Chenkol, Pakshe, Paradesi and Bhramaram, to name a few, the ultimate romantic in Thoovanathumbikal, the subtle and discerning police officer in Kariyilakaatu Pole, the struggling common man in Nadodikattu, Pattana Pravesham, T.P. Balagopalan M.A., Gandhi Nagar 2nd Street, and so on.

Many of the latter movies, made in Lal’s growing years, had fellow travellers like actor-writer Srinivasan, directors Priyadarshan and Sathyan Anthikad, who made up as formidable teams that produced not just engaging human stories and told them with a blend of grounded comedy and realism, but also helped develop what the then mainstream Malayalam cinema’s quantum leap.

For an alternative genre of ‘middle’ cinema was also propelling cinematic excellence in the state during this same time, with the classic works of maestros like Padmarajan, Bharathan and K.G. George, which continue to define Indian cinema’s glorious history, along with the ‘parallel’ cinema heralded by auteurs like Adoor Gopalakrishnan, Mohan, Aravindan, and so on.

Image: Stills from Kamaladalam and Vanaprastham (right)

Thus, Mohanlal, along with Mammooty, the product of Malayalam cinema’s resurgence in the 1980s and its pivoting as the cradle of cinematic storytelling and visual excellence.

While these cinematic jewels of the 1980s were largely part of his learning curve and growth trajectory of the initial decades, Mohanlal’s transformation into a larger-than-life role since the 1990s enabled his mass following. Though ‘new-generation’ Malayalam had made the mass fare less appealing in recent times, Mohanlal’s fan following continues to ensure that his movies break his own records of the highest grossers in Malayalam cinema – be it Drishyam, Puli Murugan, Lucifer, Empuraan or Thudarum.    

Such machismo, however, had not hindered filmmakers from casting him in deeply intense roles, many of which fetched him state and national awards, and other recognitions.

Such movies enabled him to break free from the trap of typecasting and exploited his versatility to the hilt, be it as a Kathakali artist in Vanaprastham, the Mohiniyattam performer and teacher in Kamaladalam, legendary characters in Kayakulam Kochunni and Marakkar, the multitude of police and military officer roles in a handful of acclaimed movies, and many such versatile and distinct roles that traversed the spectrum of performing range and artistic excellence.

Image: Mohanlal with then Defence Minister A.K. Antony and Chief of Army Staff on joining the Territorial Army; and (right) leading a TA parade contingent 

The roles in military attire are said to have encouraged him to become an officer in the Territorial Army (TA), which also shows his healthy predisposition even as a sexagenarian. While the Indian Army counts on him, and those like Mahendra Singh Dhoni, to be a brand ambassador or inspiration for the younger generation, the Army’s decision to honour him following the Dadasaheb Phalke Award is also a recognition of his social roles and a symbol of patriotic pride, as few from Indian cinema had donned such roles for the armed forces.  

Similarly, Mohanlal’s metamorphoses as a multi-faceted artist, which could elevate him to the level of globally-acclaimed performers, were made possible when he harnessed the opportunities to participate in theatre.

In 2001, Mohanlal performed in Delhi’s Siri Fort Auditorium as part of the National Theatre Festival of the National School of Drama (NSD), by performing as Karna in Kavalam Narayana Panicker’s Karnabharam. While many acclaimed actors in Indian cinema came from theatre, Mohanlal’s Karnabharam was a rare instance when a film artist, not trained in theatre, performed on stage sans any cinematic milieu.

In 2003, Mohanlal performed in Kadhayattam, by presenting ten characters and situations from Malayalam literature, in front of an audience first in Thiruvananthapuram’s Senate Hall, and then in many other cities. In 2008, Mohanlal, along with fellow Malayalam actor Mukesh, who happens to be from a family of theatre artists, performed in Chayamukhi, enacting the roles of Bheeman and Keechakan, respectively.  

From a ‘grotesque’ villain to superstar

For the unversed, the term “superstar” entered the collective consciousness of Malayalam cinema audiences with the meteoric rise of Jayan. Malayalam cinema had stars but lacked a figure who embodied larger-than-life charisma both on and off-screen. This changed in 1979 with the release of Hariharan’s Sarapancharam, which was meant to make Sathaar the next big name in Malayalam movies but ultimately established Jayan as a superstar.

Mohanlal’s entry into films occurred during this era with Thiranottam, in which he played a mentally disabled servant. The film was completed but faced censorship and was not released at that time. Mohanlal then made his first public screen appearance with elan as a villain in Fazil-directed Manjil Virinja Pookkal, which featured Sankar, the romantic heartthrob of Malayalam audiences of the early 1980s, and Poornima Jayaram as the lead pair.

Mohanlal then had a convincingly ‘villainous’ demeanour, which, in later years, made people wonder at the stupendous transformation he underwent, initially into an elegant boy-next-door and later to a moustache-twirling macho hero. The latter image makeover went to extreme manifestations that prompted feminist circles to portray him as a symbol of male domination in Malayalam cinema and of patriarchy in Kerala society.

Image: Mohanlal auditioning for Manjil Virinja Pookal (right), his first released movie

The audiences who had first watched him on the big screen in Manjail Virinja Pookkal may not have had a clue that it was the nascent moment of brilliance of a coming phenomenon, sporting a thick moustache, long hair and sunglasses, wearing a blue blazer, confronting the heroine, menacingly: Good evening, Mrs. Prabha Narendran and eventually bursts into laughter.

Padayottam, the first Malayalam film shot in 70mm and produced by Navodaya Appachan, was among the first to depict Mohanlal as a positive character. The film was notable for being one of the initial collaborations between him and Mammootty. The actors who would later become part of one of the biggest onscreen rivalries gave a memorable performance as father and son.

Mohanlal’s cinematic journey is remarkable for how swiftly he transformed from a typecast villain to a leading man of immense emotional depth. When actors from the previous era, such as Prem Nazir, Madhu, Soman, Sukumaran, and newcomers like Ratheesh and Bheeman Raghu, were doing lead roles, Mohanlal’s performances stood out. He was noted for the ease of acting, natural dialogue delivery and effortless screen presence, qualities that were rare for a newcomer back then.

The year 1984 was a breakthrough one for him, marked by Ivide Thudangunnu, which featured him as a hero with a “good heart” and Poochakkoru Mookkuthi, which helped change his image, marking the beginning of his successful partnership with Priyadarshan. Within a few years, he began exploring roles that were morally complex yet deeply human, breaking free from stereotypes.

By the mid-1980s, Mohanlal had evolved into Malayalam cinema’s most relatable face, embodying everyman's struggles and aspirations with astonishing authenticity. Films like Rajavinte Makan (1986) redefined him as a box-office powerhouse, while other films in the decade, such as Thoovanathumbikal, Nadodikkattu, Irupatham Nootandu, Chithram, and Kireedam, showcased his unmatched ability to blend realism with cinematic flair.

Image: Mohanlal with Mammooty, his contemporary in Malayalam cinema. Photo credit (left): E.P. Sajeevan

Standing shoulder to shoulder with fellow superstar Mammootty, the duo, along with other supporting actors, formed the golden era of Malayalam cinema, where art and popularity found rare equilibrium.

In subsequent years, with more films in his repertoire, Mohanlal evolved from a star into a phenomenon. While Mammootty embodied intensity and authority in roles in films such as New Delhi, Oru Vadakkan Veeragatha, and Oru CBI Diary Kurippu, Mohanlal introduced fluidity and spontaneity, traits that blurred the line between actor and character.

Whether portraying the underdog in Kireedam, the carefree youth in Thoovanathumbikal, or the flawed lord in Devasuram, his performances captured a wide range of human emotions. He effortlessly shifted from comedy to pathos in a heartbeat, creating characters that felt lived-in rather than performed.

Film critics describe such acting as “organic,” a school of performance that combines instinct with method, naturalism with grace. It is this depth that made him the archetype of the “complete actor,” capable of excelling in any genre. Mohanlal, thus, remained atop as the audience’s emotional anchor, proving that substance and stardom coexisted and redefining Malayalam cinema’s artistic identity.

The ultimate actor and rightfully so

At 65, Mohanlal has rewritten cinematic history by becoming the second Keralite, after Adoor Gopalakrishnan, to receive the prestigious Dadasaheb Phalke Award. The conferring of the award on the Malayalam cinema industry’s reigning superstar highlights not only his decades of brilliance but also the resilient spirit of Malayalam cinema’s artistic essence.

With nearly 50 years in the film industry, Mohanlal is now the most marketable brand in Malayalam, with films starring him expected to generate significant box office revenue. The Dadasaheb Phalke Award, India’s highest honour in cinema, is a prestigious recognition, and it is not only personal but also historic.

The achievement places Malayalam cinema at the very heart of India’s cultural narrative, acknowledging that its artistry and innovation deserve the same spotlight that hitherto has been enjoyed by mainstream Bollywood. Mohanlal’s acting finesse has ensured that Malayalam cinema remained rooted in realism while soaring in creativity for decades, and it is now poised to command even greater national and global attention.

While Mohanlal being awarded this honour was widely appreciated in Kerala and across Indian cinema, there were murmurs from some sections in Kerala about veteran actor Madhu (Madhavan Nair) being overlooked in favour of a much younger actor. At 93, critics felt that Madhu should have been a suitable choice for the Dadasaheb Phalke Award.

Image: Mohanlal with Amitabh Bachchan and Madhu (right). Photo credit: Anees Kodiyathur 

The yesteryear evergreen hero, who acted in more than 400 films, directed and produced some, was also the owner of the Uma studio. Madhu shared the screen with Bollywood superstar Amitabh Bachchan in the 1960s film Saat Hindustani. Then there are others like Kamal Haasan and Mammootty in the same pantheon of auteurs.

Stalwarts such as these being overlooked for the Phalke honour for so long is often seen as a glaring omission. On the whole, for some critics, the award celebrates not only the journey of a solo actor but the larger narrative of who gets remembered in Indian cinema’s hall of fame and who does not, despite stellar contributions.

Nevertheless, there is no dispute about the fact that Mohanlal deserved such recognition that aligns with his versatility and talent. His journey from a villain in Manjil Virinja Pookkal to becoming the face of India’s highest cinematic honour is a story of perseverance, reinvention, and brilliance.

As he stands on the highest pedestal with the Dadasaheb Phalke award, Mohanlal’s victory is a testament to how his repertoire has transformed Malayalam cinema into a beacon for world cinema. The award recognises the broader Indian public's appreciation of a culture, a language, and an artistic spirit that have consistently exceeded expectations in Indian cinema.

This honour is not just a retrospective footnote but a lively moment in an ongoing story.

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