Mammootty has played the family man through all its shades, and these 10 films prove just how devastatingly good he can be when he brings the tears along with the warmth.
We celebrate Mammootty's 75th birthday by revisiting blockbusters that shaped his superstar image without compromising his brilliance as an actor.
From Kottayam Kunjachan to Unda, here are 10 Mammootty films that prove the megastar can be every bit as entertaining as he is intense.
From tender romances to deeply conflicted relationships, these 10 films showcase Mammootty's softer, more vulnerable side at its most memorable.
From Ustad Hotel to Salute, these Dulquer Salmaan Malayalam films prove why his homecoming with I'm Game is worth celebrating.
KPAC Lalitha's specialty was evoking on screen people that the audience felt they knew intimately, and evoking them through telling details that tore down the boundary between the audience and the performer, observes Sreehari Nair.
'Farewell to the unique artist who loved like a mother and taught many things like a teacher.'
The film is about a woman who will do only what she feels is right.
The two are teaming up for this latest Malayalam movie.
The film talks about small men dreaming big but doesn't fails to pull off the story.
Sreenivasan could so willingly be 'our little man' because in his heart of hearts he never felt trivial or inconsequential. And to the very end he stayed that way, the shrimp who knew he was a giant. Sreehari Nair doffs his hat to the late legend.
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Director Jimson Joy tries to combine an old-style narrative with so-called 'new gen' cinema in Bicycle Thieves, but fails to get it right.
The latest updates from the Malayalam film industry.
A lowdown on the Malayalam film industry.
The latest updates from Malayalam film industry.
A lowdown on what's happening in the Malayalam film industry.
The latest updates from the Malayalam film industry.
The latest updates from the Malayalam film industry.
Law Point is a lethargic long drive with many low points.
The film cannot be taken seriously, says Paresh C Palicha.
These films, even at their saddest, darkest and grossest, retain their sense of humour, their sense of proportion, which again is something you associate with a Malayali.
A Nedumudi Venu character was happiest when moving his head to a piece of music with his eyes closed; or, when inventing off of a note that a co-actor had left unfinished; or, when reciting a poem by Kavalam Narayana Panicker where a hymn about nature descends into a musing about cheating, depression and death, feels Sreehari Nair.
'It took a 75-year-old director to teach the reformist set of Facebook users that Evil is not an aberration, but something that resides in the most regular seeming of human beings,' says Sreehari Nair.
