Mohanlal is the youngest honoree to receive the Dadasaheb Phalke Award, Indian cinema's highest honour.
Divya Nair salutes the actor and lists 10 iconic Lalettan films.
Manjil Virinja Pookal (1980)
Mohanlal made his debut in a negative role. He played Narendran, a jilted ex-husband, so convincingly that you would love to hate him in this film, written and directed by Fazil.
Nadodikattu (1987)
A satirical cult classic.
Mohanlal, as an unemployed man with a bloated ego and lots of sarcasm, instantly resonated with the youth.
Kireedam (1989)
Mohanlal as Sethumadhavan, a young man aspiring to join the police force to fulfill his father's dream, is perhaps one of his most vulnerable and heartbreaking on-screen characters.
Torn between duty and ill-fate, Lal captures the agony poignantly.
Bharatham (1991)
After his older brother's death, an aspiring musician has to take over family responsibilities while also fighting an inner battle.
Mohanlal deserved the National Award for his portrayal of an artiste battling grief.
Vanaprastham (1999)
Mohanlal's homework and dedication to his craft helped him transform into a skilled Kathakali artist.
From body language to layered expressions, Lal presented the role with authenticity.
Chithram (1988)
Who would have thought that a criminal hired to play a rich girl's husband would steal your heart?
Be it his pretend romance or comic timing, his Vishnu is a rare role that made audiences laugh and cry in equal measure.
Iruvar (1997)
How do you command the spotlight in a scene where there is no dialogue?
That is Mohanlal for you in Iruvar in which he plays a politician inspired by MGR.
Spadikam (1995)
Part swagger and part emotional, Aadu Thoma is Malayalam cinema's version of the angry young man.
Devasuram (1993)
Lal as Mangalassery Neelakandan, the arrogant prince with no empathy, was a landmark role to celebrate his 200th film.
His emotional transformation showcased his mastery of nuanced performances.
Thanmathra (2005)
Few actors can portray the inner conflict of an Alzheimer's patient as realistically as Mohanlal.
His gradual decline of memory and self-realisation is haunting and emotional.