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He turned a darling of the masses, triggering a scramble for scripts that suited his persona.Įven Prithviraj, stung by his choice of mediocre screenplays, staged a return through meaningful movies. Unabashedly bald, Fahadh Faasil became the emblem of the new cinema. These were not big budget movies piggybacking on a star cast. Anoop Menon wrote Beautiful, underscoring the strength of the new breed of movies. Then a deluge of movies, branded “new-gen”, marked a shift in traditional views about audience preferences. Bobby-Sanjay’s Traffic and Shyam-Pushkaran’s Salt n’ Pepper were trendsetters five years ago. But the trend of collective writing caught on. The flagging fortunes of Malayalam cinema were reversed. Years of comedy followed and actors like Dileep rode the wave. Siddique-Lal, Rafi-Mecartin and Sibi-Udayan pairs brought a Midas touch to Malayalam movies. Ramjirao Speaking and other epic comedies marked the beginning of partnerships in writing. The script writer continued to be the master of writing. The script turned a pricy commodity during the heyday of Ranjith and Ranji Panicker. Sreenivasan turned himself into a comical mirror to satirise Malayali sensibilities. Then came Lohithadas’s earthy and emotional tales. Vasudevan Nair’s movies and soared to the heights of fantasy with P.
Malayalam cinema left the confines of the studios with M.T. Vaikom Muhammed Bashir, Kakkanadan, Malayattur Ramakrishnan and Surasu built bridges between literature and cinema. Puram Sadanandan who dabbled in theatre and cinema. That was also the age of Thoppil Bhasi and S.L. When Kunjacko Boban commissioned Sarangapani to write the dialogues for Umma in 1960, that was the birth of arguably the first “applied writer” in Malayalam cinema.
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His screenplays helped Malayalam cinema to rebase to Alappuzha from faraway Chennai.Īlso read: New stars light up smug movie industry He wrote about the folk heroes of north Kerala from his base in Alappuzha. Sarangapani was a tailor and a revolutionary before he launched scripts that would go on to create huge hits. Malayalam cinema has seen a screen writer who worked for Rs 90. Jayachandran visit the new-age writing blocks. The new generation, however, follows a different route. Entire movie sets have waited with bated breath for Srinivasan to finish the script to be shot on next day. Srinivasan seems to think that script is something that you write on the go. The generational shift in screen writing is best understood in a comparative study of writer-director-actor Srinivasan and his son Vineeth.
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