‘Mohanlal embraced me and Sreenivasan; I saw his eyes well up with tears’: Sathyan Anthikad recalls emotional 'Hridayapoorvam' moment

After a 10-year gap, the beloved pairing of Mohanlal and Sathyan Anthikad has returned to the silver screen with their family-friendly film ‘Hridayapoorvam’, which has already found a home in the hearts of Malayali audiences.

Alongside Mohanlal shines the earnest Sangeeth Pratap—standing solidly beside him, he evoking memories of the classic Mohanlal‑Sreenivasan duo. ‘Hridayapoorvam’ stands apart from the director’s previous works—with a fresh storyline, a new generation of faces and plenty of change.

Sathyam Anthikad spoke to Mathrubhumi.com about the film:

Sandeep Balakrishnan – Jerry duo is the film’s main highlight. How did Sangeeth Pratap enter the picture?

“Sangeeth Pratap is a very promising actor. I had noticed his performance as Amal Davis in ‘Premalu’. His acting felt natural—not artificial—in front of the camera. When I was shaping the character Jerry, I thought he would fit perfectly. Mohanlal stands at the pinnacle of effortless acting. Together with Sangeeth—who can perform without inhibition—the combination worked amazingly well.”

In the film, Sangeeth plays a full-length character as a male nurse. The age difference between Mohanlal’s character (Sandeep Balakrishnan) and Sangeeth’s Jerry is itself humorous. Sangeeth had a little hesitation acting alongside Lal during the early days of the shoot, but Lal quickly turned him into a friend who could joke freely.

Doesn't ‘Hridayapoorvam’ hold a unique relevance in bringing together a father and two sons in the same project?"

"Beyond the fact that they are my children, I see them as two young directors of the new generation—Akhil and Anoop. Akhil shared this idea with me, and immediately I felt it suited Mohanlal’s capabilities perfectly. Anoop put his own projects aside to work as associate director. Although Akhil had worked on a Mohanlal film previously, this is the first for Anoop. Even though we’re father and sons, while talking with these two young directors the generation gap disappears. I can engage with them easily, discuss ideas and share thoughts freely. They converse with me as a friend, and because I’m the ‘father’, they have a little more freedom—and they can tell me openly if I say something wrong. There’s no pretense between us; we’re open and honest with one another."

What’s your take on filming it in an urban setting rather than a rural one?

“Since this story is not set in the countryside, parts were shot in Kochi and mostly in Pune. When Akhil described the story, the city that came to mind was Pune, because of its military surroundings. Upon visiting, I found and loved it—the trees, the ambience. Pune felt better than Mumbai or Bengaluru. Though the setting has changed, my characters are still middle‑class in mindset. Sandeep Balakrishnan is essentially a middle-class man, without financial or family concerns—still, his life is more complex. You can see a blend of Balagopalan of TP Balagopalan MA’ and Gopalakrishna Panicker of ‘Sanmanassullavarkku Samadhanam’ in Sandeep Balakrishnan. Having made a Mohanlal film that families can enjoy without any tension is wonderful. Also, this is Mohanlal’s first sync‑sound film—that’s a distinct feature. You can literally hear his every breathable moment on screen.”

How do you see the change, as ‘Hridayapoorvam’ brings a ‘new-gen’ touch both on and off screen?

“A new‑gen touch permeates ‘Hridayapoorvam’. Initially, I thought I would write the story myself again. But writing alone still requires someone to discuss ideas with. In the past, I used to discuss with Lohithadas or Sreenivasan. When that stopped, I wondered who to work with. That’s when T P Sonu from a short film ‘Night Call’ came in—just one conversation, and he said ‘I’m impressed.’ He had the vibe. We worked together on the script and I asked him to write dialogues too. I was happy to have someone else as a screenwriter. Anu Moothedath joined as cinematographer. Young composer Justin Prabhakaran took charge of the music. New actors like Sangeeth, Malavika Mohanan and new gen’s favourite Sid Sriram also turned up. ‘Hridayapoorvam’ is filled with the energy of the new generation.”

From your first film ‘Kurukkante Kalyanam’ to ‘Hridayapoorvam’, several generations of viewers have watched your films. Does creating cinema in the Gen Z era come with any pressure or new challenges?

“I don’t feel generational changes unless pointed out. Because I live in Kerala, watch upcoming talent and walk with them, I feel I’ve changed along with time. I’m not like I was with my first film—I carry all the feelings of today’s generation in ‘Hridayapoorvam’. Technological and audience preferences evolve naturally—we must adapt. People have less patience now. Stories must be crisp. It’s a lesson we learn instinctively. I’ve never felt a major generation gap, not even with younger filmmakers. I think I’ll feel that tension only if I act like a senior man.”

How did you feel working without Sreenivasan this time?

"My long partnership with Sreenivasan started during our MA days. Without him, I would never have made so many good films. Even discussions with him after filming helped me when writing others’ stories. When the shoot was in Mulanthuruthi, Sreenivasan came to the location. Mohanlal embraced me and Sreenivasan; I saw Lal’s eyes filling up."