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.
People turn a corner and overhear secrets, men change stripes so as to acquire shades of villainy most convenient to advancing the plot, secondary characters confess to past sins just so that the leading women are absolved of all responsibility, notes Sreehari Nair.
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.
