The Indo-French production ‘Vanaprastham’, directed by acclaimed filmmaker Shaji N. Karun in 1999, stands out as a remarkable film showcasing Mohanlal’s exceptional acting talent.

The film’s shoot was unique in many ways, notably for bringing together some of the most skilled Kathakali artists for key roles. Among the cast were Kalmandalam Gopi, Kalmandalam Keshavan, Keezhpadam Kumaran Nair, Kudamaloor Karunakaran Nair, Venmani Haridas, Venmani Vishnu, Kottakkal Madhu, Appukutty Pothuval, Mattannoor Sankarankutty, along with poet Mullanezhi and historian Kizhakkemadam Govindan Nair.

As part of an Indo-French cinematic venture, the film followed Shaji’s internationally recognised works like Piravi and Swaham. Of the two cinematographers on the project, one was Renato Berta, a favourite of internationally renowned directors like Roman Polanski, Godard, Louis Malle, and Éric Rohmer, while the other was Santosh Sivan. Berta came from Paris with a team of four technicians and a Panavision camera, capturing Shaji’s vision in Kottayam.

Kottakkakom brought together a veritable ensemble of artists, including historic sites like the Sree Padmanabhaswamy Temple, Krishnavilasam Palace’s Levee Hall, the Kuthiramalika premises, and Nelpura. Since filming the Shivalingam at Sree Padmanabhaswamy Temple was not possible, the team shot the scenes at Adikesava Perumal Temple, Kanyakumari. Artist Namboothiri recorded sketches of the first shots at Levee Hall.

Speaking about Mohanlal’s talent, Renato Berta recalled, “This actor was born in the wrong corner of the world. Had the geographical ‘location’ been right, Mohanlal would have won an Oscar…” Berta was astonished to see Mohanlal learn complex Kathakali sequences and transform effortlessly in front of the camera.

Initially, Berta admitted he was irritated seeing Mohanlal joke with the crew before heavy shots, a stark contrast to the meticulous preparations he was used to with foreign artists. But once in front of the camera, Mohanlal’s subtle nuances and seamless character embodiment left Berta amazed, prompting his Oscar remark.

Mohanlal later responded to Berta’s comment: “Never. I was born in the right place, which allowed me to perform so many diverse roles and collaborate with such extraordinary talents.”

For training in Kathakali movements, Kalamandalam Gopi recommended Kalamandalam Balasubramanian. A memorable moment occurred when Mohanlal, during a government felicitation ceremony for his Dadasaheb Phalke Award, bowed at his teacher’s feet in reverence, adding to the film’s legacy.