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Indian Express
3 days ago
- Entertainment
- Indian Express
KS Chithra recalls saving Ranjini Haridas from wardrobe mishap during ramp walk; anchor reveals, ‘She used to scold me for my short dresses'
It's been over four decades since Indians started listening to KS Chithra's voice. Yet, it still hasn't lost its freshness and ability to melt the hearts of listeners, taking us to celestial heights. In a way, her voice can be described as a sunrise; no matter how many times we have come across, it still manages to take our breath away every time as if it's the first. That's why July 27 isn't just another date on our calendars. It's the legendary playback singer's birthday, an occasion dear to Malayalees worldwide. Recently, Chithra sat down for a conversation with renowned television presenter and model Ranjini Haridas as the first guest on the latter's new YouTube talk show The Green Room. The episode witnessed the two — who have shared a close bond since their time together on the music reality competition Star Singer in 2009, where Chithra served as one of the judges and Ranjini the anchor — taking a long trip down memory lane, reminiscing about their longstanding bond, personal lives and more. During the conversation, the 'Nightingale of Malayalam' also recalled an incident where she jumped in and protected Ranjini Haridas from a potential wardrobe mishap. Sharing that it happened while they were taking part in a doctors' conference in Coimbatore, Tamil Nadu, Chithra said, 'A big ramp was set up and Ranjini was walking on it in a short skirt. Below the ramp, there were people who were standing with cameras. I just couldn't sit there in tension.' The singer acted quickly and gave her a decorative cloth that had been handed to her while being welcomed to the event. 'I gave her that fabric and told her to use it as a drape. I just couldn't bear it,' she added. Revealing that Chithra is very protective of her, Ranjini humorously shared that the singer would text her during their rehearsals, asking her not to sit cross-legged. She said, 'Chitra chechi used to scold me for my short dresses. Whenever I sat in rehearsals with my legs crossed, she'd text me 'Legs down!' She is the one who wants to see me get married the most, even more than my mother!' The first episode of The Green Room was released on the occasion of Chithra's 62nd birthday on Sunday.
Indian Express
20-07-2025
- Entertainment
- Indian Express
Manoj K Jayan recalls ‘saving' Manju Warrier's life from speeding train during Sallapam shoot: ‘Had my hand even slightly loosened…'
Although her career didn't quite take off as expected after her return to cinema following a 15-year hiatus, Manju Warrier continues to be a household name in Kerala to this day. The main reason for this is that many of her impactful and stunning performances from the first phase of her career remain etched in the hearts of Malayalees. From Thooval Kottaram, Kaliveedu, Ee Puzhayum Kadannu, Irattakuttikalude Achan, Krishnagudiyil Oru Pranayakalathu and Kaliyattam to Aaraam Thampuran, Pranayavarnangal, Daya, Kanmadam, Summer in Bethlehem, Pathram and Kannezhuthi Pottum Thottu, almost all the films she did in the first four years of her career — before taking a long break following her marriage — are still cherished by moviegoers, particularly for her performances. Although she made her film debut with director Mohan's Sakshyam (1995), it was Sundar Das' Sallapam (1996), penned by legendary screenwriter-director AK Lohithadas, that truly established her as an actor. Her stirring performance as Radha received widespread acclaim and almost instantly secured her a place among Malayalam cinema's most promising young talents. Despite it being just her second film, and the presence of several established character actors, Manju ensured she left a lasting impression. Actor Manoj K Jayan, who played a key role alongside Manju in Sallapam, once took a trip down memory lane, recalling a chilling incident that occurred on set. His account not only highlighted Manju's deep dedication to the craft but also underscored the risks involved in acting when the timing of artistes is not correct. 'Everyone watching realised immediately that she was operating on another level. Sallapam was her first outing as a heroine, yet no one would have guessed. During that final shot, she simply surrendered to the character, and the situation slipped out of control,' he recalled during a chat with a television channel. The scene featured Manju's character attempting to end her life by jumping in front of a speeding train, with Manoj's character trying to pull her away. Recalling how he gripped her with all his strength, Manoj said, 'Had my hand even slightly loosened, she would have gone under the wheels. I told myself I couldn't let go-whatever happened.' When the shot was finally canned, he said he collapsed, completely drained. 'I was so shaken, I half-felt like giving her a scolding. But the shot was perfect, and the entire unit broke into applause. If I had not been there that day, Malayalam cinema might have lost a future icon before she had truly begun.'
The Hindu
17-07-2025
- Health
- The Hindu
M. Anirudhan, founding president of FOKANA, passes away
M. Anirudhan, founding president of the Federation of the Kerala Associations in North America (FOKANA) and prominent businessman has passed away. A three-time president of FOKANA, Mr. Anirudhan was also on the board of directors of NoRKA-Roots. Hailing from Oachira, Mr. Anirudhan arrived in the U.S. in 1973 for pursuing research in chemistry. He had obtained his postgraduate degree from S.N. College, Kollam. He was noted for his contributions in the area of nutrition. In a condolence message, Chief Minister Pinarayi Vijayan described him as the unofficial Ambassador of Malayalees in the US.
Indian Express
17-07-2025
- Entertainment
- Indian Express
Saved from army by Nehru, this actor went on to become Malayalam cinema's finest; locked horns with Mohanlal, Mammootty; lost National Award to Amitabh Bachchan
Thilakan, the firebrand human being, or Thilakan, the unparalleled actor: whom do Malayalees remember more? Ooo, that's a tough question, isn't it? As great an actor as he was, Thilakan was also an unflinching critic of power, who ruffled the feathers of the powerful in Malayalam cinema. Even though he had to walk a lonely road, he never budged and always proceeded with his head held high. That, along with the countless benchmark performances he delivered, is why he is remembered and cherished even now, 13 years after his demise. Born on July 15, 1935, in Ayiroor village near Thiruvalla, PK Surendranatha Thilakan joined Kollam SN College after finishing school. According to the institution's website, he actively participated in the Arts Club's activities and played key roles in several plays, including William Shakespeare's Julius Caesar, in which he portrayed Mark Antony. Later, he joined the military. However, due to some ailments, he was soon confined to a bed in the hospital at his camp, and the authorities decided to amputate one of his legs, as was the practice of that era, veteran screenwriter John Paul recounted in a Safari TV show. One day, he said, the then-Prime Minister Jawaharlal Nehru visited the camp. Despite strict instructions from the top brass prohibiting anyone from interacting with Nehru, Thilakan spoke up as the PM was in the hospital. Explaining that the authorities had decided to amputate his legs without his or his family's permission, Thilakan requested Nehru to save him from the procedure. Upon returning to his office, the PM issued an order to have Thilakan transferred to a better hospital. Furthermore, he decreed that, henceforth, procedures like amputation should not be performed on soldiers without their or their close relatives' consent. With the legs Nehru saved, Thilakan returned to Kerala, bidding goodbye to the military. Soon, Thilakan began associating with various drama troupes and resumed pursuing acting. With a few friends, he established a troupe called the Mundakayam Nataka Samithy. Alongside this, he worked with KPAC, Kalidasa Kalakendram and Changanacherry Geetha. It was during this time that he met theatre legend PJ Antony — whom Thilakan always referred to as his beloved mentor — and began collaborating with him. It was Antony himself who paved the way for his foray into cinema. In Antony's first and only directorial venture, Periyar (1973), Thilakan played a key role. However, it was the legendary filmmaker KG George who gave him the proper push. Playing an important character in George's Ulkkadal (1979), Thilakan made his mark, and the filmmaker, spotting the actor's immense potential, offered him his first impactful role in Kolangal (1981), where Thilakan's performance as 'Kallu' Varkey won hearts. Despite coming from a theatre background, his portrayal was devoid of over-dramatics, and without exaggeration, he convincingly embodied the character of an alcoholic. From then on, George always saved the pièce de résistance characters — those whose perfect performance would elevate the films to soaring heights — for Thilakan. His portrayal of director-cum-drama troupe owner Vakkachan in Yavanika (1982) alone is enough to highlight the actor's massive potential. His controlled, commanding and nuanced performance in Yavanika, one of India's finest mystery thrillers, earned Thilakan his first Kerala State Film Award for Second Best Actor. He continued not only to make strides with his performances in George's Lekhayude Maranam Oru Flashback (1983) and Adaminte Variyellu (1983), but also to prove that Malayalam cinema might have found one of its greatest actors of all time. But could Thilakan, whose physique and voice appeared so rough and tough, handle comedy? If not, how could he be called a GOAT? George himself provided the answer in his political satire Panchavadi Palam (1984), where Thilakan's hilarious and unhinged portrayal of the caricaturish politician Isahak Tharakan proved that he was an all-rounder. No matter how big or small the part was, Thilakan knocked it out of the park every time, as exemplified by movies like Oru Kochukatha Aarum Parayatha Katha, Uyarangalil, Koodum Thedi, Anubandham, Yathra and Irakal, for which he bagged his second state award. In 1986, Thilakan proved the extent of his mettle by playing diverse roles like the paper-tiger gangster Damodarji in Sanmanassullavarkku Samadhanam, the hysterical Yamarajan in Pappan Priyappetta Pappan and the serpent in human skin, Paul Pailokkaran, in P Padmarajan's romantic classic Namukku Parkkan Munthirithoppukal. His portrayal of Paul, one of the vilest villains Malayalam cinema has ever produced, remains a benchmark performance. Rithubhedam (1987) earned him his first National Film Award for Best Supporting Actor. Even without relying on much physical transformation, Thilakan ensured each of his characters was distinct, as seen in films like Nadodikkattu, Amrutham Gamaya, Thaniyavarthanam and Unnikale Oru Katha Parayam. In 1988, Padmarajan gave him another iconic role in the tragic drama Moonnam Pakkam, which became one of the defining performances of his career, bringing tears to all audiences' eyes. The very next year, just when viewers thought they had seen his career-best performance, Thilakan outdid himself in Sibi Malayil's Kireedam (1989) as Achuthan Nair, a cop whose dreams of his son following in his footsteps are crushed when the youth becomes entangled in crime. More than three decades later, Thilakan's climactic scene with Mohanlal remains unmatched, a testament to their mastery. Be it short or long in a movie, Thilakan – Mohanlal combination has always been a feast to watch. 😍 — ക്രിഷ്ണ എ ഡി 🎏 (@ludachrishna) May 28, 2022 For every brilliant comic turn in Chakkikotha Chankaran and Kattukuthira, he matched it with intense performances in films like Perumthachan. Although he was in the running for the National Award for Best Actor for Perumthachan, Thilakan was bested by Amitabh Bachchan, who won for Agneepath. In a 2008 interview with Rediff, Thilakan alleged he lost the award because a top Congress politician wanted Big B honoured to secure his support in campaigning. But the winning or losing of trophies could never affect a legend's journey, and Thilakan's career is proof. He went on to become Malayalam cinema's quintessential supporting and character actor, delivering exceptional performances in films like Sandesam, Mookilla Rajyathu, Kilukkam, Godfather, Georgekutty C/O Georgekutty, Sadayam, Kauravar, Chenkol, Pavithram, Pingami and Minnaram. In 1995, he added another unforgettable role to his repertoire with CP Chacko, alias 'Kaduva' Chacko, in Spadikam, the ultimate example of a toxic parent. From Mayilpeelikkavu, Veendum Chila Veettukaryangal, Kannezhuthi Pottum Thottu and Narasimham to Randam Bhavam and Kilichundan Mampazham, Thilakan turned everything he touched to gold. Even as he worked unstoppably, Thilakan never severed his connection to the grassroots and always voiced his concerns about the industry's functioning. He time and again alleged that casteism was rampant and that his Ezhava identity had cost him opportunities in Malayalam cinema dominated by an unofficial 'Thiruvananthapuram Nair lobby'. He claimed the lobby resented his many awards. At the same time, he staunchly opposed the 'ban culture', which he ultimately faced. In 2010, Thilakan launched an all-out battle against film organisations for denying him the opportunity to act in Christian Brothers (2011) because he collaborated with MACTA head and director Vinayan, whom the rival FEFKA and some big actors opposed. Alleging that the film bodies were behaving like a 'mafia', he told IANS, 'The two major organisations in the industry and the superstars are against me because I acted in the latest film directed by Vinayan. Three other actors who acted with me in the film are also finding it tough. I'm 74 and into my sixth decade as an actor, so I have decided I will fight for justice. Do you know, as a result of the so-called informal ban on me by these people, right now I have no films at all.' He didn't mince words in criticising superstars like Mohanlal, Mammootty and Dileep either. 'The superstars are highly insecure. They don't even like others matching up to their level, let alone outperforming them. They will not — and they can't — take the slightest competition. I have outperformed them in many films, which obviously has not gone down well with them. If someone outperforms them, it is an open challenge to their stardom. People and the media praised my performance in their films. It might have been difficult for them to digest. They tried to push me around on screen. Once that failed, they tried it off the screen as well,' he told Rediff. Yet Thilakan's talent was far beyond any association's ability to suppress, and every time he appeared on screen, audiences gave him the love he deserved. From Red Chillies' Comrade Maani Varghese, Evidam Swargamanu's Jermias and Nayakan's Vincent Karanavar, to Indian Rupee's Achutha Menon and Spirit's Mesthiri, he soared. In his final years, he proved there was no one like Thilakan with his heartwarming portrayal of Kareem Ikka in Anwar Rasheed's Ustad Hotel (2012). Besides Malayalam, he also worked in a few Tamil, Telugu and Kannada movies. He won the Padma Shri in 2009. Thilakan passed away at 77. Even though years have passed since his demise, the legacy he left — as an actor and as a person who refused to bow to casteist lobbies, egoistic associations and superstars — remains an inspiration for generations. Thilakan showed with his life that he knew not only his worth, but also exactly when and where to stand firm.
Indian Express
13-07-2025
- Entertainment
- Indian Express
Malayalam cinema's most beloved ‘yakshi', who also shared screen with Mammootty and Prithviraj, took her own life at 22; was in Class 8 when she debuted
The Malayalam film industry loves to make horror movies. Well, to be precise, it loves to make movies featuring yakshis (ghosts of deceased women). Until recently, when it began exploring the horror genre more inventively with films like Bhoothakaalam (2022) and Bramayugam (2024), yakshis were the go-to trope Malayalam filmmakers relied on to induce fear in audiences. Despite such stories often hitting the screens, a few movies remain particularly beloved to Malayalees, one among which is director Vinayan's Aakasha Ganga (1999). Not because it was a path-breaking horror film, but because it used an already hackneyed trope well and delivered genuine chills, the movie remains a fan favourite. And the thanks here is due to actor Mayoori, who played Ganga — a dasi (servant) girl murdered by the patriarch of a royal household over her romantic relationship with his son and who returns as a yakshi to avenge her death by eliminating all the men in the family. Although actor Divya Unni played the woman who becomes possessed by Ganga's spirit, effectively becoming the face of the ghost for most part in the movie, the real Ganga appears on screen often, etching Mayoori's image in the hearts of audiences forever. Nonetheless, Aakasha Ganga was not the only film that brought Mayoori recognition. In fact, she impressed audiences in nearly every movie she appeared in, no matter how big or small her role. That's why Mayoori is still remembered even 20 years after she took her own life at the age of just 22. Born in Kolkata in 1983 to a Tamil couple, Mayoori (née Shalini) made her film debut while she was in Class 8. She landed the female lead role in her first film, director Keyaar's Kumbakonam Gopalu, opposite Pandiarajan. Despite being just a teenager, her mature performance as a nurse and her striking beauty impressed audiences and opened a flood of opportunities. The same year, she made her Malayalam debut as one of the five central female characters in Sibi Malayil's blockbuster romantic comedy Summer in Bethlehem (1998), starring Suresh Gopi, Manju Warrier and Jayaram, with Mohanlal in a striking cameo. Despite the film's many key characters, Mayoori effortlessly left a lasting impression, which led to more Malayalam offers. Over the next two years, she worked exclusively in Malayalam, appearing in several major films. Besides Aakasha Ganga and Bharya Veettil Paramasukham (1999), she acted opposite then-heartthrob Kunchacko Boban in Chandamama (1999) and Prem Poojari (1999). Though she wasn't the female lead in either, her performances as Annie and Chanchal, respectively, were widely noticed, thanks in large part to her expressive face and starry eyes. In legendary filmmaker AK Lohithadas' hard-hitting family drama Arayannangalude Veedu (2000), she played Ragini, with whom Mammootty's character Raveendranath was in love in his youth. Unlike her earlier characters, Ragini was far more emotionally demanding and layered. As with most Lohithadas creations, the role required the actor to tap into deep emotions, and Mayoori did so brilliantly, underscoring that she couldn't be confined to any single type. Though she later appeared in Summer Palace (2000) and Chethaaram (2001), those films did not earn her the same recognition. She then worked in the Kannada film Neela (2001) in a small role before shifting focus to Tamil, where she had a key part in Whistle (2003). In Selvaraghavan's 7G Rainbow Colony (2004), she made a special appearance in the song 'Naam Vayathukku Vandhom'. Subsequently, she acted in Silambarasan TR's Manmadhan (2004) and Sarathkumar's Aai (2004), but neither film truly explored her potential. That same year, she played a significant role in the Kannada film Sarvabhouma (2004), appearing alongside superstar Shivarajkumar. Portraying the wife of one of his two characters, she delivered a solid performance in both the younger and elderly getups. In 2005, she appeared in a small role in KV Anand's Tamil film Kana Kandaen, sharing the screen with Prithviraj Sukumaran, which unfortunately became her final screen appearance. Soon after the film's release, she was found hanging in her Anna Nagar residence on June 16, 2005, ending her life at just 22. Though the exact reason behind her decision is still not known, there were reports that she struggled with depression, allegedly linked to a rumoured stomach cancer diagnosis. However, no family member ever confirmed this. 'No one has any role in my death. I am leaving because I have lost hope in life,' she reportedly wrote in a letter to her brother abroad, according to Manorama Online. A sensitive child who entered the world of cinema as a teenager, it was also rumoured that the dark realities of the film industry took a toll on her mental health. Many colleagues recalled seeing her after shoots, sitting in her room playing with dolls, underscoring that she was still a kid at heart. Reports also suggest that on numerous occasions, Mayoori faced the heartbreak of being promised a role only to find out later that someone else had been cast in her place. This, too, is believed to have caused her deep distress. But the true reason remains a mystery to this day. Actor Sangeetha Krish, who shared the screen with Mayoori in Summer in Bethlehem, once told Kerala Kaumudi Weekly, 'Mayoori was three years younger to me and was a foolish one. Only after asking me, she used to even tie her hair. Once the shooting is over, she will be with her toys in her room. She later died by suicide. Personal and film lives are entirely different. One needs to be flexible to carry the two together.' Though she worked in cinema for just seven years, Mayoori remains an unforgettable presence for audiences, especially Malayalees. Whenever we hear songs like 'Puthu mazhayayi vannu nee', 'Confusion Theerkaname', 'Devaragame Mele', or 'Manassin Manichimizhil', her breathtaking face comes flooding back to our minds. Thanks to her exceptional talent, that face will never fade.
