From ‘Sandesham’ to ‘Vadakkunokkiyanthram’: Revisiting Sreenivasan’s unforgettable movies

Sreenivasan, who died Saturday at 69, leaves behind one of Malayalam cinema’s most celebrated legacies – a body of work that bridged humour, politics, social criticism and character-driven storytelling across acting, writing, directing and producing.

Born on 6 April 1956 in Patyam near Thalassery, he spent close to fifty years in the industry, appeared in more than 225 films and wrote some of Malayalam cinema’s most enduring screenplays. His writing credits include ‘Odaruthammava Aalariyam’, ‘Sandesam’, ‘Nadodikkattu’ and ‘Njan Prakashan’, while his directorial efforts ‘Vadakkunokkiyanthram’ and ‘Chinthavishtayaya Shyamala’ remain touchstones for dark humour and social commentary. He also co-produced acclaimed hits such as ‘Katha Parayumpol’ and ‘Thattathin Marayathu’.

An actor with impeccable timing, a scenarist unmatched in satire and a filmmaker who pursued sincerity over spectacle, Sreenivasan consistently carved characters who exposed hypocrisy, insecurity and political absurdity. His writing shaped generations of viewers – and his collaborations with actors such as Mohanlal, Jayaram and Mammootty became cultural shorthand. 

What follows is a look at some of the titles that defined his career.

Nadodikkattu (1987)

Generations of Malayali audiences still return to Dasan and Vijayan – the unlikely job-seekers chasing opportunities that never arrive. Directed by Sathyan Anthikad and scripted by Sreenivasan from a Siddique-Lal story, the film paired Mohanlal as Dasan and Sreenivasan as Vijayan. Their journey reflects the economic anxieties of the 1980s and the frustration of an unemployed youth demographic.

Sandesham (1991)

A political satire with a domestic setting, ‘Sandesham’ – also by Sathyan Anthikad – starred Jayaram and Sreenivasan as brothers who belong to rival political outfits. Their family, headed by retired station master Raghavan Nair (Thilakan) and homemaker Bhanumathi (Kaviyoor Ponnamma), is caught in the fallout of their ideological obsession. The film skewers reckless political posturing and its damage to ordinary lives.

Vadakkunokkiyanthram (1989)

Sreenivasan made his directorial debut in 1989 with this bleakly comic portrait of marital insecurity. Starring himself and Parvathy, the narrative follows a newly married man whose inferiority complex spirals into Othello-like jealousy. The characters – Dineshan and Shobha – retain cult status for how they capture everyday anxieties.

Udayananu Tharam (2005)

A dark comedy about the workings of the film industry, the Rosshan Andrrews-directed feature was written by Sreenivasan. Mohanlal and Sreenivasan play Udayabhanu and Rajappan Thengumoodu – one desperate to become an independent filmmaker, the other determined to find stardom by any means. It lays bare the grind, insecurity and illusion that underpin show business.

Katha Parayumpol (2007)

Sreenivasan’s script for ‘Katha Parayumpol’, directed by M. Mohanan, centres on friendship across economic divides. He played Balan, a small-town barber, opposite Mammootty’s superstar Ashok Raj. The story’s emotional core – admiration, abandonment and loyalty – allowed Sreenivasan to balance sensitivity with restraint.

Chinthavishtayaya Shyamala (1998)

Sreenivasan directed and acted in this National Award-winning Malayalam feature, which charts the desperation of a woman whose husband drains their resources chasing dubious schemes. His turn as Vijayan displayed his ability to embody flawed men with vulnerability, making the critique both comedic and humane.

Akkare Akkare Akkare (1990)

This instalment in the Dasan–Vijayan series sent the pair on a mission to recover a stolen gold crown. Packed with slapstick, misadventure and razor-sharp exchanges, it cemented Sreenivasan’s place among India’s finest comic performers.

Sanmanassullavarkku Samadhanam (1986)

A social comedy built around a landlord trying to evict his tenant, the film blends empathy and exasperation. Sreenivasan’s portrayal of a harried house owner helped transform a simple premise into a fan favourite.

Thalayanamanthram (1990)

A domestic drama focused on aspiration and deception, ‘Thalayanamanthram’ examines material temptation and the havoc it wreaks. Sreenivasan’s performance as Shekaran Kakka added sly manipulation to a narrative steeped in family conflict.

Thenmavin Kombath (1994)

A romantic comedy set in a lush Kerala village, the film featured Sreenivasan as Korah – a comic foil who complements the film’s love-triangle energy. Visual flair and melodic music helped turn it into a major crowd-puller.

Varavelpu (1989)

A 1989 black comedy directed by Sathyan Anthikad and written by Sreenivasan, ‘Varavelpu’ dissected union politics and labour disputes in Kerala. Mohanlal, Revathi, Thilakan and Innocent joined Sreenivasan in a narrative that lampoons political interference and entrenched dysfunction.

Mazha Peyyunnu Maddalam Kottunnu (1986)

Directed by Priyadarshan and scripted by Sreenivasan from a story by Jagadish, this 1986 title assembled Mohanlal, Mukesh, Jagathi and others for what became one of the year’s biggest box-office draws. It now stands as a benchmark Malayalam comedy.

Pattanapravesham (1988)

The sequel to ‘Nadodikkattu’ followed Dasan and Vijayan into police work – now as CID officers assigned to solve a homicide in Tamil Nadu. Directed by Sathyan Anthikad and written by Sreenivasan, it reinforced the duo’s chemistry and comedic rhythm.

Chithram (1988)

A romance built on deception and unexpected affection, the film became a blockbuster thanks to its offbeat premise and musical appeal. Sreenivasan played Kaimal, providing comic punctuation that offset the emotional arc of the central couple.