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Gopalakrishnan, Ramabhadran, Mahadevan, Peter Kaliyikkal, Chacko… yes, we are talking about Mukesh. How often do we recognise actors with their character names from films that were released almost 25-30 years ago? Such is the impact Mukesh has had over the average Malayali who grew up in the 80s and 90s.
Even today, among the Gen Z kids, who mostly became familiar with his works through memes, hardly a day goes by without recalling any one of his iconic dialogues or priceless expressions. How about Kelkunnilla Kelkunnilla when you’re asked something uncomfortable… or a sheepish Othilla when a plan flops… or just a stern But Why to question something in jest.
Four decades — 41 years, to be precise — and almost 300 films later, Mukesh is still the same sarcastic, enthusiastic actor he was, but a bit more pragmatic. The star, who once had his films running for 365 days in theatres, is not keen to participate in a rat race anymore as he has been content with doing meaningful character roles. But after years, he is finally playing a lead role in Philip’s, which hits screens this Friday. Ahead of the film’s release, we sit down for a conversation about his journey in cinema and beyond.
Excerpts:
What can you tell us about Philip’s?
When I was initially approached for this project, I wasn’t aware of my character’s prominence. It was only after the narration that I realised its depth. When I was informed that besides me, all the other three main characters will be played by newcomers, I immediately asked the team why they chose me. It’s a script that any actor with a better market value would instantly agree to do. But they said, “We designed this only for you, Mukeshetta. If you reject, we’ll have no other option but to move on with some other story.” They firmly believed that only I can do that role. It has happened often in my career, particularly in Priyadarshan’s films. Boeing Boeing, Kakkakuyil, Arabiyum Ottakavum… were all born out of this confidence. Priyan used to write characters particularly for me. I consider myself very fortunate to get author-backed roles even at this stage of my career.
You’ve had legendary combinations with Innocent, and Philip’s will feature you two together for one last time…
Yes, it’s another reason to look forward to the film. He doesn’t have a throughout role, but it’s a very prominent part. Initially, he was a bit hesitant as there was a lot of travel involved. But I convinced him by narrating some beautiful moments from the film. He couldn’t say no to me.
In a career spanning over four decades, there isn’t much that you haven’t done before. What do you now look for in a script?
I have never been very choosy in my career. I reject projects only if the script or characterisation is hopeless. But at the same time, I can’t also afford to wait for groundbreaking subjects and unattempted roles, like some artists claim. I don’t believe in it because what if you don’t get something like that? I try to see what freshness I can bring to the table, even if it’s a character shade that I’ve attempted before. For example, Baby Kuttan of Udayananu Tharam is a seemingly simple character without much scope for performance, but it still fetched me one of the most memorable compliments of my life. After watching the film, Dennis Joseph said, “I could see all the other actors on screen, but not Mukesh. I could only see Baby Kuttan.” That, I believe, is my success as an actor. I might not always get a fresh character, but I ensure the audience don’t feel any repetitiveness in my performance.
Baby Kuttan in Udayananu Tharam is a film producer, and you must’ve come across several such people in your career. Are you an actor who draws real life inspirations to enhance a performance?
Sometimes I do, but my approach is mostly simple—I would put myself in that situation and imagine how I would react. I have been following this approach from my theatre days, and I feel it adds a lot of authenticity to my performances. Another major compliment I received early in my career was when Hariharan sir, while introducing me to a popular Tamil filmmaker, said, “This is Mukesh, one of those actors who can’t overact even if you try pushing him.” It was then that I realised the earnesty in my process. I’ve been fortunate to get such nudges from legends all through my career.
Let’s have a quick flashback. During the mid ’90s, you were one of the most sought-after lead actors in Malayalam cinema. How did the transition to character roles happen?
Coming from a theatre background, I was never concerned about playing the lead or doing the most important role in the film. The hero could be anyone, I just wanted to play good characters. MT sir’s films also inspired me a lot. If you notice his works, even an actor who comes for two scenes will have an arc and space to perform. I always wanted to create such an impact.
Later in 2000, you forayed into television shows, when not many knew its potential. What inspired you to take that call?
It was a time when there was an unofficial ruling within the industry that barred film stars from doing serials and television shows. But I still thought of giving it a try. When I decided to host Kodeeshwaran (Malayalam version of the hit show Kaun Banega Crorepati), people from several corners tried dissuading me. Amitabh Bachchan had already popularised the show across the country, which meant I had a daunting task of living up to him. It was Sreenivasan who encouraged me saying that Malayalis would love to watch the show in their native language. Later, I did several shows, some of which went on for years. It helped me realise that people are able to tolerate me for long periods. Though the TV stint helped cement my image among the family audience, the basement was laid by my work in cinema.
Similarly, you are among the very few from Malayalam cinema to have had a successful political career…
I come from a family where art and politics were inseparable. My father was a panchayat president for 17 years. He was a politician by day and a theatre artist by night. Growing up, I always had inclinations towards the Left. But in Malayalam cinema, unlike our neighbouring industries, not many had made a mark in politics. Though Prem Nazir sir and Murali chettan tried, they couldn’t. Ganesh Kumar was there, but I won’t call him a full-time actor, and he also has a strong political lineage. It was Innocent’s victory that prompted the party to announce me as a compromise candidate. Since it was a last-minute decision, people didn’t get a lot of time to discourage me (laughs). Though many initially dismissed my victory as a fluke, they retracted their statements after I won the second time.
‘Mammukka has promised to act in my direction’
Do you feel your political image has ever restricted your choice of roles in cinema?
Not really. I would still love to play characters of all shades, but the truth is, I’m not getting many such offers. In fact, I’m more conscious while doing TV shows. Because in cinema, I do whatever the character demands, whereas in TV shows, you see the real Mukesh. So, I’m very mindful of how I present myself in TV.
How do you observe the shift in the audience’s sensibilities over the years?
I don’t see much of a difference. Regardless of how much cinema has evolved, I prefer films that align with our Malayali culture. There have always been trends, but most of them are temporary. Briefly, there was a phase when filmmakers employed certain gimmicks to make a film look realistic. While watching these films, you won’t be able to hear the dialogues clearly or see the actor’s expressions properly. I disregard it completely because I come from an acting school where it was taught that even the slightest of expressions should reach the audience.
You’ve a knack of spicing up your stories and engaging the listeners with interesting anecdotes. You’ve also written and published a book. Have you ever thought of attempting scripting or direction?
I’ve had such ambitions, but I never felt the necessity to do it. I was always comfortable as an actor because I knew it was a job I was good at. With writing and filmmaking, I’m a bit anxious because people would pin high expectations on me. In fact, Mammukka has promised open dates for me. He often says, “If you’re directing, I don’t even want to know the story.” That’s the amount of trust he has on me. Let’s see if things fall into place in the future.
If ever you direct, would it be based on your own script?
Not necessarily. I believe I have the experience and judgment to adapt someone else’s script to suit my sensibilities. I’ve experienced that while working with youngsters, who value my inputs and perspectives. I also improvise a lot, which is an important skill set for a filmmaker. There have been instances where scenes have been reshot upon my suggestions. The dialogue about Manal Mafia in Arabiyum Ottakavum… was added on the spot, and it worked wonderfully in that desert context. Similarly, during the dubbing of Mannar Mathai Speaking, I remember director Siddique urging me to liven up a particularly mundane sequence featuring Indrans, Vani Vishwanath, and myself. It was a lengthy scene shot without any dialogue. However, I discussed with Indrans that I’d drop a joke about his weight. It ended up as a huge hit in theatres then.
But would you think twice before making a joke like that today?
Not twice, I would think at least 100 times. We’ve to be extremely cautious today, because people are constantly looking for one misstep to pounce on us. I feel very fortunate that social media was not active when we started out. Otherwise, I wouldn’t have been what I’m today. Back then, we had the freedom to make all kinds of jokes as people could differentiate between intentional and harmless jokes. Today, unfortunately, we’re constrained by a lot of restrictions. Before making a joke now, I’m forced to rewind it in my head several times before saying it openly. But what ultimately happens is, by the time I deliver the line, the fun element in it is lost. Despite all these limitations, it’s appreciable that some of the current actors are still handling comedy effectively.
You might have a lot of favourite roles, but could you name any characters you felt were underappreciated?
I thought the grey-shaded character I played in Underworld went unnoticed. Had the film been a success, it would’ve opened doors for a whole new dimension of my acting style. Similarly, when Mutharamkunnu PO got remade in Hindi, I heard Bollywood people say, only Malayalis could think of such a superhit idea. But they didn’t know that the film was a failure here. Another failure that still hurts is Shuddha Maddalam. But like Mohanlal often says, every film has a destiny. There’s only so much we can do.
Any word on your upcoming Anoop Sathyan film, which reportedly also stars Mohanlal and Naseeruddin Shah?
It should happen next year. I heard its story is being reworked now.
Finally, your thoughts on the ‘review bombing’ debate?
I concur with what Mammukka said recently—reviewing and roasting are different. In the name of reviewing, why bash a film and its makers? Today, people are ready to go to any extent to garner attention. But what they need to understand is that their existence ultimately depends on cinema. It all comes down to the fact that no two people have the same taste. One man’s meat is another man’s poison.
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