a day ago
- Entertainment
- Indian Express
A Telugu-born actor became Malayalam cinema's ‘Tragedy Queen'; brought home its first National Film Award for Best Actress and outshone her peers
'What is Hollywood anyway? It's just a bunch of people from other places,' the one and only Meryl Streep pointed out during her acceptance speech for the Golden Globe Cecil B DeMille Award, presented to her by the GOATed Viola Davis, with her words highlighting the importance of keeping the film industry's doors open to people from all walks of life. Though her remarks were deeply rooted in the socio-political landscape of the US and the tensions that were surging then (which, eight years later, have only intensified), they remain just as relevant today. In fact, even here in India, our film industries are what they are because of the invaluable contributions of people who came together from various quarters, setting aside their differences, to create luminous and embellished works.
Malayalam cinema is no exception. Among the many 'outsiders' and non-Keralites who played pivotal roles in elevating the industry to soaring heights is actor Sarada (also known as 'Urvasi' Sarada), who, alongside some of her peers, redefined screen acting, setting new benchmarks and inspiring generations to come. Interestingly, it is she, a Telugu, who brought the National Film Award for Best Actress to the Malayalam industry for the first time. Widely known as Malayalam cinema's Dukha Puthri (Sorrowful Daughter or the Tragedy Queen), she bagged a total of three National Film Awards for Best Actress, the second most by any artiste — a record she shares with Kangana Ranaut.
Born in Tenali in Andhra Pradesh's Guntur district on June 25, 1945, Sarada (née Saraswati Devi) is the daughter of Venkateswara Rao and Satyavathidevi. At her mother's insistence, as per a Kerala government website, she began learning music at a young age, but her interests soon shifted to dance. She began formal training in dance at the age of six. In an interview with Popcorn Media Entertainment, she revealed that she bid goodbye to formal education in Class 8.
She then pursued her dance training seriously while living with her grandmother in Chennai. As it was common for students at her dance school to be cast in films, Saraswati eventually received an offer; but she turned it down due to stage fright. However, cinema was etched into her destiny. Another opportunity came her way soon after, and she made her film debut at age 10, appearing in a song in director P Pullayya's Kanyasulkam (1955), starring NT Rama Rao and Savitri.
Nonetheless, it took her six more years to land a proper role, which came in the Akkineni Nageswara Rao-starrer Iddaru Mitrulu (1961). She soon rose to fame and started getting back-to-back opportunities, with quite a few of her roles in movies such as Aatma Bandhuvu (1962), Tobuttuvulu (1963) and Murali Krishna (1964) being comedic, in direct contrast to what she would become renowned for later. In the meantime, Sarada also made her Tamil and Kannada debuts with Kunkhumam (1963), wherein she played the female lead opposite Sivaji Ganesan, and Valmiki (1963), headlined by Rajkumar, respectively.
It was while she was making strides across South India that industry veteran Kunchacko of Udaya Studios introduced her in Malayalam cinema through his directorial Inapravukal (1965), in which she starred alongside then-superstars Sathyan and Prem Nazir. Unlike the roles she had mostly played until then, Sarada (introduced in the title cards as Rahel, after the name of the character she portrayed; but she later continued with the screen name Sarada which she had already adopted) played a hapless woman caught in the web of a love triangle, who meets a tragic end in Inapravukal. Despite the film featuring some of the most prominent actors of the era, the 20-year-old Telugu won the hearts of the audience with her heartfelt performance. That was merely the beginning of a powerful journey, and she soon began receiving numerous offers from Malayalam cinema. She even took a break from other industries to focus on Malayalam films for several years after that.
Subsequently, she delivered exceptional performances in films such as Murappennu, Pakalkkinavu and Archana. In 1967, she truly showcased her range through impactful portrayals in varied roles, particularly in P Bhaskaran's Iruttinte Athmavu and Pareeksha. While she played a rural woman facing immense struggles in Iruttinte Athmavu, Pareeksha gave her greater scope to exhibit her versatility. Thanks to her appearance that radiated a distinctly Malayali look, her impeccable lip-syncing, her on-screen chemistry with Prem Nazir and her effortless expression of complex emotions in line with the overt and melodramatic acting style of that era, Sarada gained immense recognition through these two films. Her dancing skills also proved advantageous in Pareeksha, and her performance in the iconic song 'Oru Pushpam Mathramen', composed by the legendary MS Baburaj, cemented her status as a bankable leading lady in the industry.
Although the industry tended to cast her in more melodramas like Asuravithu (1968), owing to her ability to deliver deeply moving emotional performances, Sarada did not miss out on opportunities that allowed her to expand her horizons. A prime example of this was her portrayal of the character Ragini in KS Sethumadhavan's psychological thriller Yakshi. The film not only made the best use of her spellbinding physical beauty and sensuality on screen, but also offered her a role that defied easy categorisation.
That same year, she played one of the lead roles in filmmaker extraordinaire A Vincent's Thulabharam, written by master playwright Thoppil Bhasi, which changed her life forever and established her as one of the finest actors in Malayalam cinema. Though a hard-hitting drama, the film was also technically sophisticated, with a strong visual language, thanks to Vincent's background as a cinematographer, an influence visible in all his directorial ventures. The film's technical brilliance only elevated Sarada's performance as a young woman whose life spirals through a series of tragedies. Her nuanced depiction of Vijaya's emotional turmoil in the song 'Omanathinkalinnonam' — where she poisons her three children to save them from extreme poverty — alone was enough to demonstrate her brilliance.
Thus, at just 23, Sarada won her first National Film Award for Best Actress for a role deeply rooted in the socio-political fabric of Kerala and that too in a language she had yet to fully master. This character also cemented her image as Malayalam cinema's Dukha Puthri. 'Little did I imagine that playing Vijaya would give me so much recognition. I am a fun-loving person and used to laugh a lot during the shoot of Thulabharam, even during the breaks of several heavy-duty scenes,' she shared during a chat with The Hindu in 2016. Interestingly, Thulabharam was remade in Tamil (Thulabharam), Telugu (Manushulu Marali) and Hindi (Samaj Ko Badal Dalo), and she reprised her role in all the movies.
Given her remarkable talent, it didn't take long for Sarada to win her second National Award. In 1972, she played the lead in debutant Adoor Gopalakrishnan's Swayamvaram, opposite Madhu. A landmark film of the New Wave movement in Malayalam cinema, Swayamvaram portrayed raw human experiences, struggles and emotions in an organically crafted narrative. Despite the alien nature of her character Sita's circumstances and life struggles, Sarada portrayed her with pitch-perfect sensitivity, further showcasing her immense range and winning her second Best Actress trophy.
Though she resumed working in Telugu cinema more often during the 1970s, Sarada did not sever ties with Malayalam, the industry that truly shaped her as a powerhouse performer. From Sree Guruvayoorappan and Snehadeepame Mizhi Thurakku to Thiruvonam, Hridayame Sakshi, Itha Ivide Vare, and cinema auteur KG George's Onappudava and Mannu, she continued delivering memorable performances. Even with the arrival of a new generation of actors like the extraordinary Shoba, Seema and Lakshmi, Sarada remained the preferred choice for roles that demanded sharply emotionally resonant portrayals. In the meantime, she won her third National Film Award for Best Actress for her performance in the Telugu film Nimajjanam (1977).
Although she appeared in only a handful of Malayalam films during the 1980s, many of them left a lasting impact, none more so than her role in Adoor Gopalakrishnan's Elippathayam (1982). Her portrayal of Rajamma proved that Sarada was just as adept at understated and restrained acting as she was at melodrama, revealing facets of her talent that even Malayalam cinema might not have fully explored. Even in more mature subsequent roles, such as in KG George's Lekhayude Maranam Oru Flashback (1983) and Bharathan's Oru Minnaminunginte Nurunguvettam (1987), she shone with remarkable grace and depth.
Since the 1990s, Sarada has appeared in only less than 10 Malayalam films; but whenever she did, her presence was magnetic. In Mazhathullikkilukkam (2002), she delivered a touching portrayal as an elderly woman, sharing the screen with renowned actor Bharathi; with the two of them playing sisters. Though the film hasn't aged well, her performance as a widowed mother in Kamal's Rappakal (2005) — particularly her heartwarming chemistry with Mammootty's character Krishnan, the house help she raised as her own son — was widely appreciated. She also impressed in Jayaraj's Naayika (2011), where she played a yesteryear Malayalam cinema heroine with quiet strength and dignity. Her most recent appearance in Malayalam was in Ammakkoru Tharattu (2015).
Interestingly, her bond with Kerala extends beyond cinema. 'My grandmother is from Kerala; I believe she was from somewhere around Kozhikode, though I have not yet been able to trace my roots,' she told The Hindu. In a 2005 interview with she revealed, 'In 1975, I married a well-educated Malayali who hailed from a wealthy family (this was her second marriage after her divorce from Telugu actor Chalam). I was pleased for some time. But later, I realised that he was only interested in my money and nothing else. So, we parted after some time. Please note that I am childless and raised my niece and nephew as my own. I am pleased that they have settled well now.'
Anandu Suresh is a Senior sub-editor at Indian Express Online. He specialises in Malayalam cinema, but doesn't limit himself to it and explores various aspects of the art form. He also pens a column titled Cinema Anatomy, where he delves extensively into the diverse layers and dimensions of cinema, aiming to uncover deeper meanings and foster continuous discourse. Anandu previously worked with The New Indian Express' news desk in Hyderabad, Telangana. You can follow him on Twitter @anandu_suresh_ and write (or send movie recommendations) to him at ... Read More
