manjil virinja pookkal
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film director fazil' s maiden film, 'manjil virinja pookkal', was released on a christmas day 25 years ago .
listen to sithara singing mizhiyoram nananjozhukum from the film manjil virinja pookkal. the popular playback singer beautifully mixes it with mohammed ...
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manjil virinja pookkal might always be remembered mostly as the film that introduced mohanlal to malayalam cnema. more serious students of cinema would also remember it as director fazil’s debut .
but let’s finish that first story of manjil virinja pookkal. it started with lyricist bichu thirumala going for a walk in the morning in alappuzha. coming back, he told director fazil he saw a flower bloomed in the snow. in malayalam, that translates to manjil virinja poovu .
the past is a candle at great distance: too close to let you quit, too far to comfort you. movie: manjil virinja pookkal vocal: mrithul ...
unni menon sings
mizhiyoram nananjozhukum
from the movie
manjil virinja pookal
onb the mementos show on rosebowl .
a renowned music composer who has composed around 300 songs in 70 malayalam films. he entered the film industry with the movie “manjil virinja pookkal” and bagged the state film award for composing film scores thrice .
no song movie music 1 paadam namukku padam yuvajanothsavam 2 pramada vanam veeendum don \' t know 3 kannan tumbi poramo kakkothikkavilae appoppanthadikal 4 unarumee ganam moonam pakkam 5 manjil virinja poove parayoo manjil virinja. listen to and enjoy the evergreen hit songs from manjil virinja pookkal. cast: mohanlal, poornima jayaram, shankar, nedumudi venu music: jerry amaldev lyrici. aa nimishathinte - chandrakantham aadivaakatte padivakatte - koodevide aakash poikayil - pattuthoovala aakasha gangayude karayil - omanakuttan aakashadeepam - kshanakathu aalippazham perukkan - my dear kuttichathan aambal poove .
watch the evergreen melody mizhiyoram nananjozhukum sung by kj yesudas from the box office hit film manjil virinja pookal. cast: sankar, poornima ...
the collaboration only confirms that 36 years after the release of his first film' manjil virinja pookkal' and several national and state awards later, mohanlal is looking to experiment. his choice of projects in 2016 is a clear indication .
film debut: manjil virinja pookkal (malayalam, 1980), company (bollywood, 2002), chandramukhi (tamil, 2005) production debut: bharatham (malayalam, 1991) singing debut: sindooramegham shringaarakaavyam... (malayalam, 1985 )
to be very frank, when i saw manjil virinja pookkal back in 1980, i did not notice mohanlal. to me he was just a newcomer. i started noticing mohanlal when he, along with srinivasan, began making... ...
watch the evergreen melody mizhiyoram sung by s janaki from the box office hit film manjil virinja pookal. cast: sankar, poornima jayaram, mohanlal lyrics: ...
after thiranottam, the friends — impressed by the talent that he had shown in school and college plays — sent his pictures to the producers of manjil virinja pookkal, who were looking for fresh faces. he got the offer — and mohanlal became a name .
“i had no idea who jerry was, but was impressed when jijo told me that he had assisted legendary composer naushad in mumbai. i decided to try him for my debut film, and that was how he became the music director of manjil virinja pookkal. ”
but, of course the magnitude of the success of ‘manjil virinja pookkal' was something i could not have prepared myself for; it remains one of the biggest ever malayalam hits. my tamil film ‘oru thalai ragam' was already released and it was a huge hit too; it ran for 365 days .
i was just 20, and barely out of the south indian film chamber school of acting (which also produced rajnikanth and sreenivasan), when i did fazil' s ‘manjil virinja pookkal.' on its release, i watched the movie at a cinema theatre in thrissur. it didn' t look like the film was going to be a hit then. so i was surprised when i was mobbed by people a few days later at bangalore airport. they told me that they liked me in ‘manjil virinja pookkal.' it was then that it occurred to me that the film was probably doing well in kerala .
manjil virinja pookkal was mohanlal' s first release. [ 1 ] his first film thiranottam was never released in theaters. the film was shot mainly from kodaikanal, tamil nadu. the first dialogue of mohanlal, which begins as
i am narendran
was shot from the astoria hotel, near kodaikanal busstand. [ 3 ]
what & apos; s surprising, of course, is that mohanlal is not your archetypal hero — he is plump, has chubby cheeks and a rueful look. no one really thought that the man who first appeared as an anti - hero in the critically acclaimed manjil virinja pookkal in 1980 would rise to become a superstar .
he is a commercial film maker who dares to experiment .
this is how mammootty describes filmmaker fazil, who has been in the film industry for 25 years. it was on christmas day, a quarter of a century ago, that director fazil' s first movie, 'manjil virinja pookkal' was released. it created a flutter and gave the malayalam film world an actor with an elastic range - mohanlal .
with 18 malayalam films, 10 in tamil, and one in telugu under his belt, fazil has won the maximum number of state awards for the best film with popular appeal and aesthetic value. four of his films to be awarded in this category are 'manjil virinja pookkal,' 'nokketha doorathu kannum nattu,' 'ennenum kannettante' and 'manichitrathazhu.' though 10 of his malayalam movies were hits, his flops haunt him .
manjil virinja pookkal movie is about prem kishan (shankar) who is falling in love with prabha (poornima jayaram) whom he knows very little about. later on he realises that she was already married when her husband, narendran (mohanlal) who comes into the picture. the film ends on a sad note, with prem kishan committing suicide after killing narendran, saddened by the loss of prabha, who was killed by the same narendran .
besides introducing state - of - the - art technology in malayalam, appachan also enjoyed the credit of moulding the careers of some of the best talent in the malayalam film industry. the popular names include the directors fazil, sibi malayil, priyadarsan, t. k. rajeevkumar and jijo; the music directors jerry amaldev and mohan sithara; and the actors mohanlal, sankar, poornima (manjil virinja pookkal) and baby shalini (ente mammattikuttiammayku) .
nobody called him a superstar, but he was one. shankar was not called a superstar because that word had not gained currency in malayalam when he made a sensational debut in ‘manjil virinja pookkal' and followed it up with several successive box office hits in malayalam and tamil too. shortly before the emergence of the reigning superstars mammootty and mohanlal in the 1980' s, it was shankar who reigned supreme in malayalam cinema. but shankar could not reign for long .
there is perhaps no better way to start this story than simply asking, do you know how manjil virinja pookkal got its name. those old enough to remember the early 1980s would talk about this film as one that brought a lot of new ideas to malayalam cinema — the way it was taken, the new actors, the new director and the music composer. now decades later, people still talk of this film, mostly because it is mohanlal’s first release .
my films don’t have any great messages to convey or any political statements to make. they only have entertainment value. natholi oru cheriya meenalla is an experiment where i have tried my best to entertain viewers. the film is about the interaction between a writer named prem and narendran, a character that he creates. at certain points the film is also a tribute to manjil virinja pookkal, which is perhaps evident from the names of the characters. i found it an interesting and different concept .
mohanlal was a professional wrestler and he had won many accolades in this field. no wonder why this flexible actor performs so well in action scenes in films. he was also selected for the national championship which was to be held at new delhi. but he missed it as he was called for an audition for his debut film manjil virinja pookkal, which was directed by fazil. thus, mohanlal went on to become one of the best actors of india and did not pursue wrestling as a profession .
that' s when mcp started his production - cum - distribution house, navodaya movietone. he went on to produce films such as ‘mamangam,' (1979), ‘theekadal,' (1980) and ‘manjil virinja pookkal' (1980), in which mcp introduced mohanlal and poornima jayaram. the u. s. - based jerry amaldev was the music director while the story, screenplay, dialogue and direction were by fazil. another star was born when mcp produced ‘yente maamaatukkutiamma,' directed by fazil - - baby shalini .
this was the university where i learnt filmmaking. i watched him make the whole movie and learnt the craft. i contributed to the discussions of new movies at the studio. 'theekkanal' was made with big budget stars, like madhu and nazir. it was a success. when they discussed the next film, i suggested that a small budget movie be made, with new faces. i was given the job of director for 'manjil virinja pookkal.' jijo was always a great source of encouragement to me ,
fazil sums up his early days .
watch the evergreen melody mizhiyoram sung by s janaki from the box office hit film manjil virinja pookal. cast: sankar, poornima jayaram, mohanlal lyrics: bichu thirumala music: jerry amaldev genre: sad director: fazil producer: navodaya appachan release: december 25, 1980 for more updates: subscribe to us on: urltoken follow us on: urltoken like us on: urltoken
fazil was one of the members in the creative team of udaya studio' s story discussions for their productions. the discussion for manjil virinja pookkal began right after the success of studio' s big - budget film theekkanal starring high - profile actor like madhu and prem nazir. during their discussion, fazil suggested a low budget film featuring newcomers. the project was greenlit and they hired fazil himself as the director. [ 2 ] ashok kumar was selected as the film' s cinematographer; his name was suggested by a friend of fazil. [ 3 ] the title
manjil virinja pookkal
was given by fazil. he got it from a conversation he had with the film' s songs lyricist bichu thirumala when they were in alappuzha; when thirumala came back after a morning walk he said that he saw a flowers bloom in the snow. it struck fazil, he thought that to be against the laws of nature for flowers to bloom in the snow, that would prevent spring from coming. he realised that his main characters prabha and prem kishan too suffer the same fate – because spring does not come to their lives, and their love cannot bloom. [ 4 ]
watch the evergreen romantic song manjad kunnil sung by kj yesudas and vani jairam from the box office hit film manjil virinja pookal. cast: sankar, poornima jayaram, mohanlal lyrics: bichu thirumala music: jerry amaldev director: fazil producer: navodaya appachan release: december 25, 1980 for more updates: subscribe to us on: urltoken follow us on: urltoken like us on: urltoken
watch the evergreen romantic song manjaadi kunnil sung by kj yesudas and vani jairam from the box office hit film manjil virinja pookal. cast: sankar, poornima jayaram, mohanlal lyrics: bichu thirumala music: jerry amaldev genre: love director: fazil producer: navodaya appachan release: december 25, 1980 for more updates: subscribe to us on: urltoken follow us on: urltoken like us on: urltoken
rangachetana is a theatre school in kerala, based in thrissur. from children' s summer production' vidaraan madikkunna pookkal' written by dr; vayala vasudevan pillai, directed by k v ganesh, prodused by et varghese .
' manjil virinja pookkal' is the story of prem krishnan (shankar), prabha (poornima jayaram) and narendran (mohanlal). the story starts with prem' s visit to kodaikkanal. he finds the girl prabha and falls in love with her. but she was married once. prem do not know this and she never told this fact to him. the story moves to a new turn after the introduction of prabha' s husband, narendran. narendran wants his girl back. he was a handsome but cruel villain. the story gets a sad ending by the suicide of the here, prem, after killing narendran who was behind the murder of his wife prabha .
the hollywood thriller sleeping with the enemy released in 1991 which was based on the novel sleeping with the enemy published in 1987 had the same storyline as manjil virinja pookkal. sleeping with the enemy was later remade into hindi four times as yaraana (1995), daraar (1996), agni sakshi (1996), koi mere dil se poochhe (2002); into tamil as aval varuvala (1998); into telugu as pelli (1997); into kannada as maduve (1997); twice in oriya mu sapanara soudagar (2008), luchakali (2012); twice in bangla as sagorika (1997) and ranga bou and into a pakistani movie khilona (1997) .
' manjil virinja pookkal' is one of the evergreen blockbuster film in malayalam. it was a breakthrough to the young director fazil. moreover, this was the first release mohanlal. this film hit the box office and bagged the best film award in the year 1980. although, the hero was shankar, the noticed appreciated one was none other than mohanlal. his villain as narendran was a new face of the villain in malayalam films. the songs of the film are evergreen and the music director was appreciated much by the public. this film was a venture of many of present famous artists in malayalam films. the list includes the director fazil, assistant director sibi malayil, mohanlal, shankar and yesudas .
shankar' s symbolism before kissing, that is, moving his index finger from left chin to his upper lip and then downwards, was a rage among the youth. in the 2013 film natholi oru cheriya meenalla, throughout the film, fahadh faasil' s character prem interacts with the character narendran in a virtual world. [ 14 ] the american thriller sleeping with the enemy released in 1991 which was based on the novel sleeping with the enemy published in 1987 had the same story - line as manjil virinja pookkal. sleeping with the enemy was later remade into hindi four times— agni sakshi (1996), daraar (1996), yaraana (1995), and koi mere dil se poochhe (2002). apparently, bollywood film hamari adhuri kahani released in 2015 also discuss the same story - line. [ 15 ]
mohanlal height, weight, age, wiki, wife, family, biography, profile. mohanlal viswanathan nair also known as mohanlal is an indian film actor, producer and singer. he was born on 21 may 1960 in elanthoor, kerala, india. mohanlal mainly works in malayalam film industry and established himself as most popular & highest - paid actor. his net worth not known and salary 2 to 3 crore per movie. mohanlal was made his on - screen debut with the film thiranottam (1978) and his first box office successful film manjil virinja pookkal (1980). he has received twice national film award, special jury awards, many filmfare awards with nominations for best actor performance. mohanlal best known for films such as iruvar, company, midhunam, no. 20 madras mail, kilukkam, bharatham etc .
the studio hired the united states - based jerry amaldev as the music composer, who debuted with it. [ 7 ] amaldev was suggested to fazil by punnoose, fazil recall that ,
jijo of navodaya had made me listen to a song tuned by a new composer and i immediately liked its orchestration, ... i had no idea who jerry was, but was impressed when jijo told me that he had assisted legendary composer naushad in mumbai. i decided to try him for my debut film, and that was how he became the music director of manjil virinja pookkal
. [ 8 ] on the thought that
a movie that introduces a new face should be shot using a new camera
, appachan travelled to germany for buying the
best camera available
at that time. the film was shot using the arriflex 35 iic camera. [ 9 ] the filming took place mainly in and around kodaikanal, tamil nadu. the first dialogue of mohanlal, which begins as
good evening mrs. prabha narendran
was shot close to the astoria hotel, near kodaikanal bus - stand. [ 10 ]
new avatar: shankar. photo: k. ragesh | photo credit: k. ragesh
he explains why in this interview with friday review in kozhikode. he talks about life after superstardom and his plans to direct mohanlal, who played the villain in his debut film. excerpts…
before i knew what was happening, i was a star in tamil and malayalam, with films such as ‘ente mohangal poovaninju,' ‘engane nee marakkum' and ‘poochakkoru mookuthi' becoming hits. i did as many as 29 films in 1984 .
you have been accused of not trying to change your image as a romantic hero .
i did try, but the industry and the audience did not allow me to do anything different .
yes, it is one of the two things i regret in my career as an actor. the other mistake i made was not concentrating on my career in tamil .
mohanlal and you started with the same film, so comparisons are inevitable. he is still a superstar but you have had to play second fiddle in films like ‘ividam swargamanu.'
i don' t grudge his success at all; he deserves every bit of it and he is exceptionally gifted. while working with him in ‘ente mohangal poovaninju,' i felt he had exceptional skills in enacting comedy .
i did ‘ividam swargamanu' because i was persuaded to work in it by its director rosshan andrews. i will be starring with mohanlal in rosshan' s ‘casanova.'
not at all. i believe life is like a circle. there will be good times and bad times. i have had so much success at such a young age; i have no room for complaint .
you made your debut as a director with ‘keralotsavam' recently. is direction something you are keen on ?
yes, very much. ‘keralotsvam' wasn' t noticed because it was a small film that was released at the same time as ‘avatar' and ‘3 idiots.'
prior to ‘keralotsavam,' i had directed a couple of short films. of them, one, ‘virus,' has been screened abroad and was well received. i have had a few offers from producers overseas and i am planning to direct a film in english later this year. i would like to cast mohanlal in my next malayalam film. i have already spoken to him and he too is interested .
the film also marked the debut of a composer, whose music was so refreshingly different from anything that was heard in malayalam films at that time that ‘mizhiyoram nananjozhukum…’ conquered the malayali heart in no time .
the man who tuned that classic, jerry amaldev, turns 75 on tuesday. ‘manjadikkunnil…’ and ‘manjanikkombil…, ’ the other songs in the film, too were hits .
fazil had stumbled upon jerry. “jijo of navodaya had made me listen to a song tuned by a new composer and i immediately liked its orchestration, ” says the veteran director .
jerry went on to create outstanding melodies through the 1980’s and ‘90s. songs such as ‘aayiram kannumayi…’ (nokketha doorathu kannum nattu), ‘aalorungi arangorungi…’ (ente mamattikuttiyammakku), ‘penninte chenchundil…’ (guruji oru vakku), ‘athappoovum nulli…’ (punnaram cholli cholli), ‘poovalla poonthaliralla…’ (kattupoth), ‘mele mele maanam…’ (no. 1 snehatheeram, bangalore north), ‘iniyumethu theeram…’ (pooviriyum pulari), ‘prakashanalam…’ (oru vilippadakale), ‘devadundubhi…’ (ennennum kannettante) and ‘illillam kavil…’ (adhyayam onnu muthal) all became hits .
there were also some lovely compositions that did not top the charts, such as ‘ravinte tholil…’ (adukkanentheluppam). it is a hauntingly melodious lullaby, sung by yesudas and chithra .
“since the film did not do well, the song never got the recognition it deserved, ” says jerry. “and that happened to me just too often. some of my finest compositions were for films that were not released, like kattupoth and jalakathile pakshi. ”
jerry also composed one of the finest non - film albums in malayalam ever, ganolsavam, released by tharangini records in 1984. the songs, which were sheer poetry, were written by onv kurup .
the album contained some absolute gems such as ‘shravana chandrika pushpam…’ the lines and the tune, aided by the immaculate rendering by yesudas, bring the beauty and irresistible charms of night right before you .
jerry composed one more album for tharangini, ardrageethangal, whose lyrics were written by k. jayakumar. that album too had unforgettable melodies such as ‘janmasagara seemayil…, ’ ‘annu sandhyakku…’ and ‘chillitta vathilil…’
those songs are still popular, but jerry has not got the recognition he deserves. “jerry should have been celebrated more, given the quality of his music, ” says kaithapram damodaran namboodiri, whose lyrics jerry had composed for ennennum kannettante. “his contribution has not been acknowledged properly. ”
jerry does not mind that. “i have no problem with that, ” he says. “but i wish i had more opportunities to compose. ”
maverick: navodaya appachan with wife baby posing against the backdrop of the trophies and accolades which he earned over the years. photo: k. k. mustafah
to appachan, who brought 3 - d to the indian film industry way back in 1984 .
when ‘my dear kuttichathan' was released in 1984, it created quite a buzz. as india' s first 3 - d film, it caught the imagination of children and adults alike. the man behind this milestone in indian cinema was maliampurackal chacko punnoose (mcp), popularly referred to as navodaya appachan. when he passed away a couple weeks ago, indian cinema lost a pioneer .
mcp was born in pulincunoo village of alappuzha, kerala, in 1924. just when he was contemplating the life of a missionary, his elder brother m. kunchacko, a film producer who established the first film studio, udaya, in 1948 in kerala with k. v. koshy, put him in charge of the studio' s administration. after that, there was no looking back for appachan…
the brothers jointly produced four films every year and when kunchacko passed away, mcp handed over the reins to his only nephew bobachan .
he started afresh, and directed the first malayalam cinemascope film, ‘thacholi ambu,' starring sivaji ganesan, prem nazir and k. r. vijaya. the film was a huge hit .
in 1982, mcp produced and directed ‘padayottam,' the first 70mm film completely shot, processed and printed in india, with prem nazir and mammootty. its collection hit an all - time record. (although ‘sholay' and later ‘shaan', ‘alibaba' and ‘kranti' were shot in india in 70mm, their final prints were developed in england, russia and japan, respectively, due to non - availability of infrastructure) .
though mcp' s first son jijo was the technical brain behind his father' s first 70mm film, it was appachan who directed ‘my dear kuttichathan,' made at navodaya studios. except in kannada (due to an official ban), the film was dubbed in all the indian languages and created box - office records. mcp' s second son jose has inherited his father' s superb administrative skills and capabilities and is today in full control of all their administrative setup .
mcp introduced script - writer reghunath palaeri in his ‘onnu mudhal pujyam varae.' among others he introduced to the industry included mohan sithara as music director, playback singer g. venugopal, artist sankar, and actor geetu mohandoss .
to his credit goes the tamil film, ‘poove poochooda vaa' in which he introduced the bubbly nadia moidu. but more interesting is that fact that he brought yesteryear star padmini (then settled in the u. s .) back to the silver screen. k. s. chitra sang her first tamil song, ‘chinna kuyil,' in that film, which earned her the sobriquet ‘chinna kuyil.' in 1989, mcp produced his last blockbuster, ‘chanakyan,' starring kamal hassan and jayaram. a bank employee t. k. rajeev kumar made his directorial debut in that film .
skyrocketing salaries of stars, among other reasons, forced mcp to retire. but he still came up with a 16 - mm film on the bible in malayalam. he converted it into digital video format and serialised it in hindi as ‘bible ki kahaniya,' which proved to be a success .
on a personal note, mcp helped this writer on several occasions. he spared the services of his editor t. r. sekar for this writer' s film ‘mizhineer poovukal,' starring mohanlal, lissy priyadarshan and oorvasi, and let him shoot at his navodaya studios free of cost in 1986. he provided free rights to a black and white print of his one of his old film hits, ‘vellae thamarai mottu polae,' for this writer' s film, ‘pradesika varthakal,' starring jayaram and parvathi .
mcp was the president of kerala film chamber of commerce (1973–78, 1979 - 81) and was president of the south indian film chamber of commerce in 1990 - 91. it was heart - rending to see his mortal remains being placed for public homage at the ernakulam town hall, where he had participated in many functions. mcp who had connections with madras for over six decades, passed away in kerala. he was buried in the assumption church cemetery at darkas village near tambaram on april 25 .
t. r. sekar (75 years and settled in tiruchi) who had worked with udhaya as assistant to g. venkatraman from the 1960s and became chief editor in 1973 in udhaya' s thenaruvi and had worked for all navodaya movietone' s films (except ‘chanakyan') says: “mcp was a disciplined and punctual person. when ‘thacholi ambu'' s final editing work was going on round the clock, he would drop me off at my house at 6 a. m. , wait for me and then take me back. noticing the poor conditions in which i lived, he offered to buy me a house, a request i politely turned down .
“he was simple and never flaunted his wealth. can you imagine a person who was worth hundreds of crores of rupees, travelling by train from kodambakkam (he lived in mahalingapuram) to tambaram daily, using his car only from there to kishkintha. such was the man! ”
fahadh faasil gives us a taste of the unconventional yet again with his new flick natholi oru cheriya meenalla .
a decade after he made his debut, fahadh faasil is the flavour of the season in mollywood. in his second coming in the industry, the young actor has given some well - appreciated, author backed - performances in movies as varied as cocktail, 22 female kottayam, diamond necklace and, annayum rasoolum, earning for his choice roles, the monikers ‘new generation hero’ and ‘thinking man’s hero. ’ fahadh, though, seems pretty nonchalant and a tad reticent about his success, preferring to be rooted to reality and letting his characters speak for themselves. now, the actor continues his unconventional run on the big screen with director v. k. prakash’s natholi oru cheriya meenalla, scripted by shankar ramakrishnan, which releases today. akam, one of the films that fetched him the state award for the second best actor last year, is expected to release soon, and amen, red wine and emmanuel also are in various stages of completion. he will shortly begin work on anwar rasheed’s episode in the five - film project anju sundarikal. in an interview with fridayreview, fahadh talks about his life has changed during in recent times. excerpts…
i don’t think people expect anything of the sort. on that note, i want to experiment. i like getting into the skin of the characters. when you watch an actor who lives in another part of the world on screen, you can relate to his / her emotions here in kerala. this is the inherent magic of cinema. i am quite thrilled to explore such possibilities .
i don’t know what my style is but i believe that any actor who acts from the heart has a style. after all the highs and lows that i’ve had, i have decided that from now on i will only do things from my heart .
acting requires a lot of mental preparation. you have to tune your body into the character and it is a tiresome process. in annayum rasoolum, for example, i actually tried method acting for the first time. i stayed in fort kochi, interacted with locals there and even wore their clothes. the people of fort kochi are often portrayed on screen as colourful and loud. i wanted rasool to be just the opposite. it was a challenge to do it differently and it was tremendously exciting too. rasool is a person who has more negatives than positives in his life. yet, he is always well - groomed, pleasant, and has a positive outlook. it is the most satisfying role that i have done till date. now, i am looking forward to the reactions of the viewers to natholi oru cheriya meenalla .
there have been various opinions about the duration and pace of your recent release annayum rasoolum. what is your take on the issue ?
it’s perhaps the film that is closest to my heart. honestly, i wouldn’t have taken off even a second from the film. it is the love story of anna and rasool. although we have seen several love stories in the past, this is also the story of a township and two different cultures in a little corner of the world. it is so realistic a film that even a bystander in a frame has a story to tell. the film was shot using sync sound and so it’s natural that there will be a bit of a lag. it’s a new style of filmmaking in mollywood. i feel that all this debate is about people getting used to it .
not really. i respect the audience. i am doing the kind of films that i want to be part of. if those kind of films guarantee their producers returns on investments, then there’s nothing stopping me from doing such films. luckily, that has happened with all my films. that’s why, at the moment, i am chilled out and happy .
at least, there has been no such move on my part (smiles) .
if my movies work, then it is more than enough for me. i am fascinated by the malayalam movies of the 1980s such as innale, thoovanathumbikal, namukku paarkkaan munthirithoppukal and so on, which are the actual new - generation films. i am not a person who is very much influenced by foreign films – my favourite foreign film is giuseppe tornatore’s cinema paradiso, which, incidentally, is almost like a malayalam film (laughs). i think i am very rooted and i believe that there is nothing called ‘new generation’ cinema .
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sreejith went on to director after director, finding stories behind titles of many malayalam classics .
exploring the stories behind the names of malayalam movies, journalist sreejith perunthachan has brought out a book ‘peraya ninne iha’ that reveals many interesting tales .
beyond that, a man called sreejith perunthachan was intrigued by how the film got its name. he asked director fazil. and fazil told him stories of films he took. from there, sreejith went on to director after director, finding stories behind titles of many malayalam classics, till he had a book full of them to release — peraya ninne iha .
“fazil found out that it is against the laws of nature for flowers to bloom in the snow, because that would prevent spring from coming. he realised that his main characters prabha and preman too suffer the same fate – because spring does not come to their lives, and their love cannot bloom, ” says sreejith, referring to his book as he talks .
a journalist for many years, names had always intrigued sreejith. before this book, he had written another on famous malayalam books getting their names – ‘peredutha kathakal. ’ “i am not sure where it begins, but i am curious whenever i hear a name. like i have heard soorya krishnamoorthy got ‘soorya’ after his daughter called him that once. till then, he was just krishnamoorthy, ” sreejith says .
so obviously, film names interested him to the extent he started calling or meeting directors to learn the stories. “they were all happy to tell me. priyadarshan told me about kilukkam. how the name came because revathy’s character is introduced with the clink of her anglets when she jumps off the train and also because she’s all perky like a kilukkampetti. ” but what’s more interesting is how he once went into the sets of fazil’s manichitrathazhu and got the name for his next film. “they were good friends and fazil let priyan shoot a song – varuvanillarum – in the film. in between the lines of the song there are the words ‘thenmavin kombathu’ which priyadarshan used as the title of his next film! ” there’s more. priyan’s thalavattom was originally a name that padmarajan was going to use for a film, but that had not taken off. so he asked for the rights and got it .
“there is a story behind padmarajan’s nombarathipoovu too. priyan asked him if there really was a word like that. and padmarajan said, ‘let it be my contribution to the malayalam language’. ” sreejith then skimps his pages again till he reaches director kamal’s stories. “he was once carrying a script on a bus. and there were all these children who’d keep falling over his shoulders whenever the bus braked at the curves. they were also talking about the story of a mohanlal film. so kamal thought, ‘i should be telling these kids a story’. and that became unnikale oru katha parayam. ”
shaji kailas is the next director. and obviously, we hear the story of aaram thampuran. “ranjith who wrote the script and shaji kailas had gone to the poomully mana where the film was going to be shot. there, the caretaker told them that the ‘aaram thampuran’ would come to see them. they liked that and ranjith went back to change the script to put mohanlal down as aaram thampuran (6th generation lord). six is what shaji kailas considers his lucky number. he’d always stay at room no: 204 at hotel maharani in kozhikode. ” shaji kailas also told him about commissioner * * * ’, the suresh gopi film that people still quote a lot from. “scriptwriter renji panicker told him that people would think it is the transport commissioner if he named the film like that. so then they put three stars at the end of the title. ”
with i. v. sasi, his obsession for names beginning with ‘a’ has always been pretty famous. “he was so obsessed that he would keep noting down interesting words with a that he came upon, on a piece of paper! ” the ‘a’s had become ‘aa’s and then ‘e’ and ‘ees’. “he had also experimented by naming a film varnapakittu, because the hindi flick rangeela has been a major hit back then. so he used a malayalam equivalent. ”
for director blessy, the first film kazhcha came out of a personal reason. “once he had fallen ill and the doctors feared he would lose sight. that’s when he knew the value of eyes the most and named his film kazhcha, meaning sight. ” there are many more stories. how lal jose’s oye madhavoi became meesha madhavan, how siddique lal’s nombarangale sul sul became ramji rao speaking, and so on. but the space ends here, and there’s always the book to tell it all. as for sreejith, he has more names to go after .
dream merchant: fazil has made some memorable films in malayalam and other languages. photo: johney thomas
mohanlal reminisces how he was selected for the movie. a panel of well - known directors was to select the actor for the role that mohanlal eventually essayed. two directors gave him five and seven marks out of 100, but fazil gave him 90 and jijo, producer appachan' s son, 95. thus he became the new villain, who stepped into the hero' s shoes later. in his 25th year in movies, fazil is planning two films. he is working on the script for one, and the next project will have mammootty in the lead, he says .
fazil has a knack for spotting talent, he has introduced some of the biggest names in films in south india. apart from mohanlal, nadia moidu in 'nokketha doorathu kannum nattu,' baby shalini in 'ente mamattukkuttiyammakku,' and kunchacko boban, all had their first acting stints under the baton of fazil. nagma was introduced to the south in fazil' s 'killer' (telugu) while khushboo started her southbound journey with his 'varusham 16.'
my film 'ennennum kannettante' was a failure at the box office, ironically it got the award for the best film with popular appeal. i still feel that the movie was good ,
he reminisces. but of his flops, he has only this to say :
the creator can make a mistake, but the people cannot make a mistake .
he does a painstaking post - mortem of his movies that bite the dust, so that the mistakes are not repeated .
there may not be many in the field with such big hits and flops, equally big. he takes it all in his stride. fazil turned producer a couple of times with mixed luck. he does not feel the emotional need to work all the year round. he lays off for long periods at times before starting on his next movie .
i work only under pressure, that' s my problem ,
he explains. what keeps him happy in his job is his relationships with people .
i am sure i am one of the few people who have no enemies in the field ,
he says. his friends have always stood by him, through thick and thin .
to sathyan anthikkad, he is a 'close friend.'
he has introduced so many people to cinema, but he never talks about that to anybody, a quality that i have imbibed. he has several humane qualities. however big a film you do, the next film is what people will judge you by, he always says. if you ask him to help you when you are stuck with a story, he will do it sincerely and involve himself constructively in the discussion. he looks at a new film just like a novice, willing to learn, willing to listen. he is like a textbook on cinema to me ,
says anthikkad .
says joshiy, director ,
fazil is the only star among us. even if he does not make a movie for five years, he is still a star director. very few know that he is a very good actor. he acts out everything for the artiste to follow .
the only movie in which he has done a small role is in 'nokketha doorathu kannum nattu.' mammooty also says that fazil takes a lot of effort and 'is an actor' s delight.'
landmark movies like 'ente mamattukkuttiyammakku' are still fresh in fazil' s mind .
it took just 30 days to make the film. the story was written, the cast finalised, the music made and the movie shot, all in 30 days flat ,
he remembers. for the film, he was awarded the state award for the best director, the best film and baby shalini, the super child star was born. it was remade in tamil, telugu and kannada .
when people took a train to chennai and made kodambakkam their home to enter cinema, fazil made his name, right here in kerala, in alappuzha, where he lives .
his father wanted his son to be a doctor, but in school and college, extra curricular activities engulfed him. he wrote plays, enacted them with his friends (nedumudi venu was his college mate while in sd college) and this group was perhaps the first mimicry team that entertained crowds .
i used to mimic stars like sathyan, sivaji ganesan and govindankutty. i learnt later that mammootty, siddique and lal had seen our programmes in kochi ,
fazil laughs. he completed his post - graduation in economics with a high second class, however .
it was at this point that boban kunchacko called him for a story discussion. he also got a chance to watch veteran vincent at udaya studios, making a movie, 'acharam ammini, osaram omana.'
` nokketha doorathu kannum nattu,' was again, significant, in which padmini, the dancing star of yesteryear came back in the role of 'ammachi' and where nadia moidu was introduced. it was a women oriented movie besides. fazil has been seriously thinking about a sequel to 'nokketha doorathu kannum nattu,' for the movie ended on such a note, quiet and with hope .
` poovinu puthiya poonthennal' had mammootty in the lead and the crime thriller was remade in tamil too. fazil feels free to take on any subject, be it romance, crime, suspense, family or fantasy. athough people feel it is fantasy that he excels in, like 'manichitrathazhu,' which is closest to his heart, he admits .
he intends to get cracking again soon with the two projects he has in mind, as his last movie, the tamil, 'oru naal oru kanavu' was released in august this year .
music: jerry amaldev singer: s. janaki starring: mohanlal, shankar, poornima jayaram direction: fazil
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manjil virinja pookkal ( english : flowers that bloomed in the mist ) is a 1980 indian malayalam musical romantic thriller film produced by navodaya appachan , written and directed by fazil . it stars mohanlal , shankar , poornima jayaram . the original soundtrack was composed by jerry amaldev and cinematography was done by ashok kumar . prem kishan ( shankar ) comes to kodaikanal , where he falls in love with a girl , prabha ( poornima ) . but later it is revealed to kishan that prabha was already married to narendran ( mohanlal ) , a sadistic youngster . their relationship gets into trouble when narendran finds out about their affair . the film marked several debuts — directorial debut of fazil , onscreen debut of mohanlal who would later become one of the biggest superstars of indian cinema and poornima , shankar 's debut in malayalam cinema , and amaldev as music director . manjil virinja pookkal released in theatres on 25 december 1980 on christmas day . the film was shot mainly in and around kodaikanal , tamil nadu . made on a cost of ₹ 7 lakh , the film grossed ₹ 98 lakh at the box office . it was one of the highest-grossing malayalam films of the year and was a major landmark in the career of fazil . manjil virinja pookkal received six kerala state film awards , including the best film with popular appeal and aesthetic value . 
manjil virinja pookkal (english: flowers that bloomed in the mist) is a 1980 indian malayalam musical romantic thriller film produced by navodaya appachan, written and directed by fazil. it stars mohanlal, shankar, poornima jayaram. the original soundtrack was composed by jerry amaldev and cinematography was done by ashok kumar. prem kishan (shankar) comes to kodaikanal, where he falls in love with a girl, prabha (poornima). but later it is revealed to kishan that prabha was already married to narendran (mohanlal), a sadistic youngster. their relationship gets into trouble when narendran finds out about their affair. the film marked several debuts — directorial debut of fazil, onscreen debut of mohanlal who would later become one of the biggest superstars of indian cinema and poornima, shankar's debut in malayalam cinema, and amaldev as music director. manjil virinja pookkal released in theatres on 25 december 1980 on christmas day. the film was shot mainly in and around kodaikanal, tamil nadu. made on a cost of ₹ 7 lakh, the film grossed ₹ 98 lakh at the box office. it was one of the highest-grossing malayalam films of the year and was a major landmark in the career of fazil. manjil virinja pookkal received six kerala state film awards, including the best film with popular appeal and aesthetic value.
manjil virinja pookkal (english: flowers that bloomed in the mist) is a 1980 indian malayalam musical romantic thriller film produced by navodaya appachan, written and directed by fazil. it stars mohanlal, shankar, poornima jayaram. the original soundtrack was composed by jerry amaldev and cinematography was done by ashok kumar. prem kishan (shankar) comes to kodaikanal, where he falls in love with a girl, prabha (poornima). but later it is revealed to kishan that prabha was already married to narendran (mohanlal), a sadistic youngster. their relationship gets into trouble when narendran finds out about their affair. the film marked several debuts — directorial debut of fazil, onscreen debut of mohanlal who would later become one of the biggest superstars of indian cinema and poornima, shankar's debut in malayalam cinema, and amaldev as music director. manjil virinja pookkal released in theatres on 25 december 1980 on christmas day. the film was shot mainly in and around kodaikanal, tamil nadu. made on a cost of ₹ 7 lakh, the film grossed ₹ 98 lakh at the box office. it was one of the highest-grossing malayalam films of the year and was a major landmark in the career of fazil. manjil virinja pookkal received six kerala state film awards, including the best film with popular appeal and aesthetic value.