മാളയുടെ തക്കിടമുണ്ടൻ താരാവ് … | Mala Aravindan Movie

Hit maker Sasikumar Sir, who was the mastermind of the commercial film in Malayalam, has said that it is like saying that there can be no history without words, writings and books. Sir said this to me in a friendly conversation. In the early days, I did two films for Sasikumar. KP starring Nazir and Madhu. Kottarakkara’s ‘War’ and Mohanlal, Karthika and heroines ‘My Mine’

Sir told me this comment during lunch break while the shooting of ‘War’ was going on in Madras Murukalaya studio. When I heard that, a reply came to my mind by default.

“Sir, how many serious non-comedy movies are being released in Malayalam? Weren’t those huge successes?”

My mind immediately forbade me to ask such a great man with a lot of experience in cinema like Sasikumar Sir.

“Rare movies have been like that, but most hit movies are not.”


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He gave me some examples of that. Its essence was as follows. Even when Nazir Sir was hailed as the most star-studded actor, the producers and distributors of the time were adamant that the comedian Adoor Bhasi should also be his childhood companion. It was such a precious time for Adoor Bhasi’s comedy. Even Bhasir, who used to run from location to location and act, has often been whitewashed by Nazir Sar. In it, Nasir Sir did not feel any quarrel or concern with Bhasi.

Nazir Sir knows very well that cinema is like that. Adoor Bhasi is very proud of the size of that one market. When this pride could not be tolerated by many producers and directors, the most famous directors of the time, Hariharan, I. V. Sasi, Sasikumar, A. B. Raj and others had decided not to act in any of their films in order to alienate Adoor Bhasi. With that, Adoor Bhasi has to stay at home for a long time without a picture.

The sudden market for every comedian of every age is a spectacle seen only in cinema. Similarly, when I was active in cinema in the 1980s, another comedian like Bhasi came through. The party was Mala Aravindan, the beloved actor of all of us, who created a burst of laughter with a special kind of comedy numbers, though not as raining as Adoor Bhasi. It was at this time that Jagathy Sreekumar and his new comedy chemistry began to take hold in the minds of the Malayalees. From the time Jagathy came to the cinema, the car was of the same standard till the time of the accident.

Mala Aravindan becomes an active presence in Malayalam cinema through ‘Taravi’ directed by me and director Jesse. In ‘Taravi’ starring Madhu and Srividya, we gave Mala a special character who is dull and lazy. Mala’s performance in the song ‘Thakkidi Mundan Tarave’ written by ONV and composed by Yesudas was very impressive. The first time I saw Mala was on the set of ‘Shelter in the Distances’, where I wrote the story before the duck and directed by Jesse.

When it comes to doing a role, Mala asks and understands all the character and mannerisms of that character. Then you see the character walking around with the thought of what he can contribute from himself. He was a funny character who told a false witness in court in ‘Refuge in the Distances’. But it is at the location of the duck that we get closer to each other. Most days Mala would call me at night. The joy and gratitude of getting a good character in these two films of mine will be wrapped up in jokes. Then when any new pictures come up they will call me and ask my opinion.

“Don’t be selective now. Try to make the roles you get, big or small, beautiful and get into the minds of the audience. I’m just encouraging Mala.

I have never told Mala not to act in anyone’s films. Similarly, if Mala comes to Ernakulam for any purpose, she will not miss coming to Mata Tourist Home. After coming there and telling all the comedy numbers, the party returns only after laughing and showering a friendly shower. There is something special about Mala calling me. My name is not called. Call it ‘Kalu’. That call was followed until Mala’s death. Mala has been featured in a number of films, including Chakkarayumma, Context, Moment 11.30, Under One Umbrella, Come Together, Kootinilam Kili, Mimic Parade, Kasargod Kadarbhai, Ancharakalyanam, Ottananayam, where I wrote the screenplay. Of all the screenwriters, Mala has acted the most in the films I have written. My friends and well-wishers often tease me that there is no story without a necklace in Dennis’ pictures.

It was during this period that Vijaya Movies came up with the idea of ​​making a film with newcomer director Chellappan in 1985. I have done three films with them. I was wondering how Chellappan suddenly got into Vijaya Movies. Then it was known that Chellappan had come under the power of Korachettan’s lot. Joshi’s p. G. I also liked Chellappan as he had worked as an associate in Vishwambharan’s films.

Mammootty was the hero in all the movies of Vijaya Movies at that time. They have booked Mammootty in this movie too. I wanted to give Mala a good role in this too. I asked my friend and assistant, A., to come up with a story about it. R. Told Mukesh. He does not need much time to make a story. He always has a stock of one or two stories in his hand. That’s when a new idea came to my mind. What about doing a double roll with Mala Aravindan? It is also a good market time for Mala.

That is how Mala played a double role in the movie ‘Aalorungi Arangorungi’. Even though Mammootty is the hero, the double role of Mala’s Chakkunni and Cheekunni as the Thrissur native filled the field with comedy numbers. As the film became a financial success, so did Mala’s market. It must be said that for a long time there were few films in Malayalam cinema without Malayalam. Chellappan also gave a good role to Mala along with Mammootty in Vijaya Movies’ next film ‘Athinumappuram’. There was a new character called Negro Vasu. Mala was burning even more with her new mannerisms.

For three or four years it was the chariot of Mala. Later, with the arrival of new comedians Harishree Ashokan and Salim Kumar, Mala’s glory days began to fade. But realizing the change over time, Mala immediately began to move the cell. Mala was also moving into character roles through Lohithadas’ ‘Bhoothakannadi’. The slightly older character in the film was able to gain popularity with her moderate acting style. Similarly, in the movie ‘Ottananayam’ which I wrote, Mala played an old character. Mala’s ability to transform into any character is different.

Our friendship was like a stream flowing freely, but the waves of a little quarrel had unknowingly entered us.

The altercation took place on the set of the movie ‘Ottananayam’ starring my son Dinu Dennis. By the year 2003, when the mala became physically ill and the ailments caused by it, the laziness and boredom that naturally occur to everyone began to infiltrate the mala. One day when I arrived at the location of Mala One Coin, I was there too. The climax scene was taken. You have to finish that scene before the evening.

During break time in the afternoon, Malayalam director Suresh told Kannan that he had to go home at 4 pm. Suresh was upset when he heard that. If the climax is not taken then Salim Kumar will not get it. Suresh told Mala everything but insisted on leaving the party. Then Suresh Kannan came to me and said.


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” Dennichaya tells Mala to go at four o’clock. If we can take the rest tomorrow without completing this scene then Salimkumar will not be available. Dennisichayan should tell Malachetta that he can finish the climax by evening. Malachettan will not listen to what Dennisichai says. ”

When I heard that, I immediately went to Mala and inquired about the matter. Mala needs something to go home to! Can’t wait to go. I did not like it when I heard it. The producer and director cast another actor for the role. I was the one who cast it saying that it would be better to do it with Mala. Mala is doing that role well. I had to talk a little darker in the face when Mala insisted on going earlier. This is the first incident that has happened between us in such a long time.

Silence spread over the location. Everyone is looking at me and Malay side by side. I immediately got in the car and drove home. Mala was reluctant to see me go but that scene was over and gone. I never went to the location again for two days. On the night of the third day, Mala’s phone rang. When I picked up the phone, Mala was talking to an old friend who had never seen such an incident happen.

“Kalu, are you in a quarrel with me? I was in a bad situation then. I’m not saying that now. I’m sorry if Kalu, who has given me so many opportunities, is upset. We can not be so quarrelsome.

Arrived early at Mala location the next morning. When she saw that I was late, Mala thought that my quarrel had not changed. I had just taken the quarrel with Mala out of my mind. That friendship lasted until Mala’s death. While the greatest loss in life is death, the greatest loss is the death of relationships that result from friendships. Some friendships we cannot sever. What could be a greater force than friendship?

(to be continued)

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