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Indian Express
17-07-2025
- Entertainment
- Indian Express
Saved from army by Nehru, this actor went on to become Malayalam cinema's finest; locked horns with Mohanlal, Mammootty; lost National Award to Amitabh Bachchan
Thilakan, the firebrand human being, or Thilakan, the unparalleled actor: whom do Malayalees remember more? Ooo, that's a tough question, isn't it? As great an actor as he was, Thilakan was also an unflinching critic of power, who ruffled the feathers of the powerful in Malayalam cinema. Even though he had to walk a lonely road, he never budged and always proceeded with his head held high. That, along with the countless benchmark performances he delivered, is why he is remembered and cherished even now, 13 years after his demise. Born on July 15, 1935, in Ayiroor village near Thiruvalla, PK Surendranatha Thilakan joined Kollam SN College after finishing school. According to the institution's website, he actively participated in the Arts Club's activities and played key roles in several plays, including William Shakespeare's Julius Caesar, in which he portrayed Mark Antony. Later, he joined the military. However, due to some ailments, he was soon confined to a bed in the hospital at his camp, and the authorities decided to amputate one of his legs, as was the practice of that era, veteran screenwriter John Paul recounted in a Safari TV show. One day, he said, the then-Prime Minister Jawaharlal Nehru visited the camp. Despite strict instructions from the top brass prohibiting anyone from interacting with Nehru, Thilakan spoke up as the PM was in the hospital. Explaining that the authorities had decided to amputate his legs without his or his family's permission, Thilakan requested Nehru to save him from the procedure. Upon returning to his office, the PM issued an order to have Thilakan transferred to a better hospital. Furthermore, he decreed that, henceforth, procedures like amputation should not be performed on soldiers without their or their close relatives' consent. With the legs Nehru saved, Thilakan returned to Kerala, bidding goodbye to the military. Soon, Thilakan began associating with various drama troupes and resumed pursuing acting. With a few friends, he established a troupe called the Mundakayam Nataka Samithy. Alongside this, he worked with KPAC, Kalidasa Kalakendram and Changanacherry Geetha. It was during this time that he met theatre legend PJ Antony — whom Thilakan always referred to as his beloved mentor — and began collaborating with him. It was Antony himself who paved the way for his foray into cinema. In Antony's first and only directorial venture, Periyar (1973), Thilakan played a key role. However, it was the legendary filmmaker KG George who gave him the proper push. Playing an important character in George's Ulkkadal (1979), Thilakan made his mark, and the filmmaker, spotting the actor's immense potential, offered him his first impactful role in Kolangal (1981), where Thilakan's performance as 'Kallu' Varkey won hearts. Despite coming from a theatre background, his portrayal was devoid of over-dramatics, and without exaggeration, he convincingly embodied the character of an alcoholic. From then on, George always saved the pièce de résistance characters — those whose perfect performance would elevate the films to soaring heights — for Thilakan. His portrayal of director-cum-drama troupe owner Vakkachan in Yavanika (1982) alone is enough to highlight the actor's massive potential. His controlled, commanding and nuanced performance in Yavanika, one of India's finest mystery thrillers, earned Thilakan his first Kerala State Film Award for Second Best Actor. He continued not only to make strides with his performances in George's Lekhayude Maranam Oru Flashback (1983) and Adaminte Variyellu (1983), but also to prove that Malayalam cinema might have found one of its greatest actors of all time. But could Thilakan, whose physique and voice appeared so rough and tough, handle comedy? If not, how could he be called a GOAT? George himself provided the answer in his political satire Panchavadi Palam (1984), where Thilakan's hilarious and unhinged portrayal of the caricaturish politician Isahak Tharakan proved that he was an all-rounder. No matter how big or small the part was, Thilakan knocked it out of the park every time, as exemplified by movies like Oru Kochukatha Aarum Parayatha Katha, Uyarangalil, Koodum Thedi, Anubandham, Yathra and Irakal, for which he bagged his second state award. In 1986, Thilakan proved the extent of his mettle by playing diverse roles like the paper-tiger gangster Damodarji in Sanmanassullavarkku Samadhanam, the hysterical Yamarajan in Pappan Priyappetta Pappan and the serpent in human skin, Paul Pailokkaran, in P Padmarajan's romantic classic Namukku Parkkan Munthirithoppukal. His portrayal of Paul, one of the vilest villains Malayalam cinema has ever produced, remains a benchmark performance. Rithubhedam (1987) earned him his first National Film Award for Best Supporting Actor. Even without relying on much physical transformation, Thilakan ensured each of his characters was distinct, as seen in films like Nadodikkattu, Amrutham Gamaya, Thaniyavarthanam and Unnikale Oru Katha Parayam. In 1988, Padmarajan gave him another iconic role in the tragic drama Moonnam Pakkam, which became one of the defining performances of his career, bringing tears to all audiences' eyes. The very next year, just when viewers thought they had seen his career-best performance, Thilakan outdid himself in Sibi Malayil's Kireedam (1989) as Achuthan Nair, a cop whose dreams of his son following in his footsteps are crushed when the youth becomes entangled in crime. More than three decades later, Thilakan's climactic scene with Mohanlal remains unmatched, a testament to their mastery. Be it short or long in a movie, Thilakan – Mohanlal combination has always been a feast to watch. 😍 — ക്രിഷ്ണ എ ഡി 🎏 (@ludachrishna) May 28, 2022 For every brilliant comic turn in Chakkikotha Chankaran and Kattukuthira, he matched it with intense performances in films like Perumthachan. Although he was in the running for the National Award for Best Actor for Perumthachan, Thilakan was bested by Amitabh Bachchan, who won for Agneepath. In a 2008 interview with Rediff, Thilakan alleged he lost the award because a top Congress politician wanted Big B honoured to secure his support in campaigning. But the winning or losing of trophies could never affect a legend's journey, and Thilakan's career is proof. He went on to become Malayalam cinema's quintessential supporting and character actor, delivering exceptional performances in films like Sandesam, Mookilla Rajyathu, Kilukkam, Godfather, Georgekutty C/O Georgekutty, Sadayam, Kauravar, Chenkol, Pavithram, Pingami and Minnaram. In 1995, he added another unforgettable role to his repertoire with CP Chacko, alias 'Kaduva' Chacko, in Spadikam, the ultimate example of a toxic parent. From Mayilpeelikkavu, Veendum Chila Veettukaryangal, Kannezhuthi Pottum Thottu and Narasimham to Randam Bhavam and Kilichundan Mampazham, Thilakan turned everything he touched to gold. Even as he worked unstoppably, Thilakan never severed his connection to the grassroots and always voiced his concerns about the industry's functioning. He time and again alleged that casteism was rampant and that his Ezhava identity had cost him opportunities in Malayalam cinema dominated by an unofficial 'Thiruvananthapuram Nair lobby'. He claimed the lobby resented his many awards. At the same time, he staunchly opposed the 'ban culture', which he ultimately faced. In 2010, Thilakan launched an all-out battle against film organisations for denying him the opportunity to act in Christian Brothers (2011) because he collaborated with MACTA head and director Vinayan, whom the rival FEFKA and some big actors opposed. Alleging that the film bodies were behaving like a 'mafia', he told IANS, 'The two major organisations in the industry and the superstars are against me because I acted in the latest film directed by Vinayan. Three other actors who acted with me in the film are also finding it tough. I'm 74 and into my sixth decade as an actor, so I have decided I will fight for justice. Do you know, as a result of the so-called informal ban on me by these people, right now I have no films at all.' He didn't mince words in criticising superstars like Mohanlal, Mammootty and Dileep either. 'The superstars are highly insecure. They don't even like others matching up to their level, let alone outperforming them. They will not — and they can't — take the slightest competition. I have outperformed them in many films, which obviously has not gone down well with them. If someone outperforms them, it is an open challenge to their stardom. People and the media praised my performance in their films. It might have been difficult for them to digest. They tried to push me around on screen. Once that failed, they tried it off the screen as well,' he told Rediff. Yet Thilakan's talent was far beyond any association's ability to suppress, and every time he appeared on screen, audiences gave him the love he deserved. From Red Chillies' Comrade Maani Varghese, Evidam Swargamanu's Jermias and Nayakan's Vincent Karanavar, to Indian Rupee's Achutha Menon and Spirit's Mesthiri, he soared. In his final years, he proved there was no one like Thilakan with his heartwarming portrayal of Kareem Ikka in Anwar Rasheed's Ustad Hotel (2012). Besides Malayalam, he also worked in a few Tamil, Telugu and Kannada movies. He won the Padma Shri in 2009. Thilakan passed away at 77. Even though years have passed since his demise, the legacy he left — as an actor and as a person who refused to bow to casteist lobbies, egoistic associations and superstars — remains an inspiration for generations. Thilakan showed with his life that he knew not only his worth, but also exactly when and where to stand firm.
Vancouver Sun
05-07-2025
- Entertainment
- Vancouver Sun
Theatre review: Arts Club's The Mousetrap a creaky, but fun production
The Mousetrap When: To Aug. 10 Where: Granville Island Stage, 1585 Johnston St. Tickets & info: From $39 at With only a brief hiccup for COVID, Agatha Christie's The Mousetrap has been playing non-stop on the London stage since 1952, the longest consecutively running play in history. Its appeal is evident. Christie has written a clever murder mystery, the prototypical whodunit, combined with a goofy domestic comedy. In our cynical age anything too unrelievedly serious feels like melodrama. Every CSI clone has to have its wisecracking detective and eccentric coroner. So we meet a variety of characters in a guest house outside London, snowed-in by a blizzard. Enter the police officer to announce that a murder has been committed and the murderer is headed here. By the end of the first act the phone line has gone dead, someone in the house has been murdered, and a third murder is expected. Everyone is hiding something and every character is a legitimate suspect. Get top headlines and gossip from the world of celebrity and entertainment. By signing up you consent to receive the above newsletter from Postmedia Network Inc. A welcome email is on its way. If you don't see it, please check your junk folder. The next issue of Sun Spots will soon be in your inbox. Please try again Interested in more newsletters? Browse here. Rest assured that I won't reveal the victim or the murderer. Unlike Christie's other most popular tales like Death on the Nile and Murder on the Orient Express, the Christie estate has never allowed a movie to be made of The Mousetrap in oder to keep the ending semi-secret. At the end of the play the Arts Club audience is asked to keep the revelations to themselves. In Stephen Drover's production we're in the great hall of Monkswell Manor, which recently married Giles (Jay Clift) and Mollie Ralston (Ming Hudson) have turned into a guest house. As the snow continues to fall, their guests arrive: a motor-mouthed, jokey young would-be architect ironically named Christopher Wren (Zander Eke) and his foil, imperious Mrs. Boyle (Beatrice Zeilinger); militarily erect Major Metcalf (Anthony Santiago) and aggressive, stylish Miss Casewell (Melissa Oei), who has been living abroad. An unexpected guest is the suspiciously theatrical Italian, Mr. Paravicini (Andrew McNee), soon followed by Detective Sergeant Trotter (Charlie Gallant), who made it through the blizzard on skis. He proceeds to warn and interrogate them all. Patrick Rizzotti's woody set has at least seven doors plus a window and two staircases by which the characters in Nancy Bryant's period costumes constantly enter and exit, like in a farce but less frantically. Both Wren and Paravicini are semi-farcical characters, unpredictable and slightly beyond the pale, taken to saying outrageous things. Eke and McNee make them both very funny. Zeilinger's Mrs. Boyle is so self-righteously pompous you'd almost expect her to slip on a banana peel. Oei's Miss Casewell keeps insisting with a half-smile that the murderer must be a sex maniac. Giles and Trotter are rather blustery in that 1950s British rhetorical style. At the centre of the action, trying to make sense of all the chaos, Hudson's earnest hostess Mollie takes acting honours. A nd the ending is a nice surprise. As compelling as it may be, The Mousetrap at age 73 has become more than a little creaky. Christie spends a lot of time setting up both acts at a pace slower than 21st century audiences have grown used to. The production could really use some tightening. But what fun to tap into such a theatre-historical classic.
Calgary Herald
01-06-2025
- Entertainment
- Calgary Herald
Vancouver theatre: Here are the six best plays to see in June
Article content Ah, June. Summer sunshine (maybe) and summer theatre. Musicals, comedies, more musicals and comedies, and a few outliers. June in Vancouver means Bard on the Beach — three shows this year are comedies. And Theatre Under the Stars — two musicals. And the Arts Club's summer musical. Funnyman Colin Mochrie at the Improv Centre. Theatre in the Country's musical. A post-apocalyptic musical from Renegade Arts. An embarrassment of musical and comic riches. Article content Article content Article content Article content No one is funnier than Oscar Wilde, who here applies his incomparable wit to a fin de siècle tale of political scandal and blackmail. The kind of material the Vancouver Playhouse would once have produced now frequently gets done, and done well, by United Players. Starring Hayley Sullivan, Cat Smith and Chris Cope. After 11 seasons at the Shaw Festival, director Moya O'Connell knows the period style. Article content Article content Haus of Yolo Article content From New Zealand's The Dust Palace, The Cultch's season-ender features acrobats creating their own costumes onstage in real time: 'from sewing machine to circus routine.' In this 'anti-cabaret cabaret,' the show's four performers take turns playing the designer and the Sexy Meat Puppets who wear the clothes and do the routines. One reviewer described it as a celebration of 'the half-naked body in the tiniest leotards I have ever seen.' Article content Article content Article content Bard on the Beach opens its season with one of Shakespeare's finest romantic comedies, featuring witty lovers Beatrice and Benedick. A couple of Bard veterans, the divine Jennifer Lines as Beatrice and hilarious Scott Bellis as goofy Constable Dogberry, make this a guaranteed winner. I don't know about the 'additional text by Canadian playwright Erin Shields' to enhance the near-serious subplot. But director Johnna Wright has a good track record with Bard comedies. Article content Article content Waitress Article content Local TV star Rachel Drance (The Flash, Virgin River) plays a pregnant small-town waitress in a bad marriage whose pie-baking skills save her. Warning: Extramarital sex! Adapted from the 2007 movie, the stage play has music and lyrics by Grammy Award winner Sara Bareilles and an A-list supporting cast including Ben Elliott, Josh Epstein, Jennie Neumann and Tom Pickett. The Arts Club's Ashlie Corcoran directs.
Vancouver Sun
01-06-2025
- Entertainment
- Vancouver Sun
Vancouver theatre: Here are the six best plays to see in June
Ah, June. Summer sunshine (maybe) and summer theatre. Musicals, comedies, more musicals and comedies, and a few outliers. June in Vancouver means Bard on the Beach — three shows this year are comedies. And Theatre Under the Stars — two musicals. And the Arts Club's summer musical. Funnyman Colin Mochrie at the Improv Centre. Theatre in the Country's musical. A post-apocalyptic musical from Renegade Arts. An embarrassment of musical and comic riches. Here are my picks for June: Get top headlines and gossip from the world of celebrity and entertainment. By signing up you consent to receive the above newsletter from Postmedia Network Inc. A welcome email is on its way. If you don't see it, please check your junk folder. The next issue of Sun Spots will soon be in your inbox. Please try again Interested in more newsletters? Browse here. When: To June 22 Where: Jericho Arts Centre Tickets & Info: $15-$35 at No one is funnier than Oscar Wilde, who here applies his incomparable wit to a fin de siècle tale of political scandal and blackmail. The kind of material the Vancouver Playhouse would once have produced now frequently gets done, and done well, by United Players. Starring Hayley Sullivan, Cat Smith and Chris Cope. After 11 seasons at the Shaw Festival, d irector Moya O'Connell knows the period style. When: June 5-15 Where: York Theatre Tickets & Info: From $29 at From New Zealand's The Dust Palace, The Cultch's season-ender features acrobats creating their own costumes onstage in real time: 'from sewing machine to circus routine.' In this 'anti-cabaret cabaret,' the show's four performers take turns playing the designer and the Sexy Meat Puppets who wear the clothes and do the routines. One reviewer described it as a celebration of 'the half-naked body in the tiniest leotards I have ever seen.' When: June 10-Sept. 20 Where: Sen̓áḵw/Vanier Park Tickets & Info: From $35 at Bard on the Beach opens its season with one of Shakespeare's finest romantic comedies, featuring witty lovers Beatrice and Benedick. A couple of Bard veterans, the divine Jennifer Lines as Beatrice and hilarious Scott Bellis as goofy Constable Dogberry, make this a guaranteed winner. I don't know about the 'additional text by Canadian playwright Erin Shields' to enhance the near-serious subplot. But director Johnna Wright has a good track record with Bard comedies. When: June 12-Aug. 3 Where: Stanley Industrial Alliance Stage Tickets & Info: From $39 at Local TV star Rachel Drance (The Flash, Virgin River) plays a pregnant small-town waitress in a bad marriage whose pie-baking skills save her. Warning: Extramarital sex! Adapted from the 2007 movie, the stage play has music and lyrics by Grammy Award winner Sara Bareilles and an A-list supporting cast including Ben Elliott, Josh Epstein, Jennie Neumann and Tom Pickett. The Arts Club's Ashlie Corcoran directs. When: June 18-22 Where: SFU Goldcorp Centre Tickets & Info: $5-$50 at Neither musical nor comedy, this Neworld Theatre documentary production partners with Victoria's Climate Disaster Project and SFU students to share the stories of Canadians who have lived through climate change disasters, and help individuals and communities cope. Created by Sebastien Archibald, Gavan Cheema and Kelsey Kanatan Wavey, and directed by Chelsea Haberlin with a facilitated talkback after each performance. When: June 29-Aug. 16 Where: Malkin Bowl, Stanley Park Tickets & Info: $35-$69 at When I reviewed Theatre Under the Stars' production of Legally Blonde: The Musical in 2012, I called it sexist, silly and riddled with stereotypes. But also funny, clever and utterly delightful. Malibu princess Elle wreaks havoc at Harvard Law School (as if they don't have enough troubles right now). With Abby Woodhouse as Elle, Madeleine Suddaby as Paulette, and Peter Jorgensen as Professor Callahan. Jayme Armstrong directs.
Malay Mail
29-05-2025
- General
- Malay Mail
Not all leaders shout — Nahrizul Adib Kadri
MAY 29 — I was never the loud one. Not in school. Not at family gatherings. Not in lecture halls, faculty meetings, or boardrooms. I've never felt the need to raise my voice just to be seen. I don't dominate a room. I don't seek the centre. But I've always been there. And over time, I've come to realise: being loud isn't the same as being effective. And presence doesn't require volume. We live in a world that often rewards noise. The loudest voices get the clicks. The most confident ones, the spotlight. The extroverted, the assertive, the performative — they're labelled natural leaders. But here's the truth: visibility isn't leadership. And performance isn't presence. Back in school, I wasn't the most brilliant, nor the most charismatic. I was somewhere in the middle — quiet, observant, a little nerdy. I didn't attract crowds, but I built friendships that spanned groups: the overachievers, the rebels, the in-betweens. I was the guy who would listen while others talked, who helped organise without demanding credit. Somehow, that made me trustworthy. And maybe that's why I ended up as president of the Arts Club — not because I asked for it, but because people knew I'd show up, get things done, and treat everyone fairly. That moment taught me something that stayed with me: leadership isn't about drawing attention. It's about holding responsibility — even when no one's watching. Years later, that same quiet rhythm carried into my professional life. As an academic, I've led departments, managed student communities, sat on panels, and even directed a corporate communications centre for a major university. I've helped the Universiti Malaya (UM) community (lecturers, staff, students) to appear in the media nearly 2,000 times. But you won't find me making grand speeches or chasing virality. My approach is different. Quieter. More deliberate. I lead by doing. By writing. By connecting people. By creating room for others to grow. Silence isn't awkward; it's respectful. Pauses carry meaning. What is not said can be just as powerful as what is. Speaking less doesn't mean knowing less; it often means knowing when to speak. — Unsplash pic And still, I've never needed to shout. Malcolm Gladwell, in his 2013 book David and Goliath, talks about the 'advantage of disadvantage.' He reframes how we see strength. David didn't win because he defied the odds — he won because he understood the odds better. Goliath was heavy and slow. David was agile and precise. What looked like weakness — being small, being quiet, being underestimated — was actually an edge. The same can be said for leadership. What we dismiss as passivity might actually be perspective. What we see as indecision might be reflection. Being quiet doesn't mean you're unsure. It often means you're thinking. Planning. Choosing your words carefully. That kind of leadership — the kind that listens more than it talks — is desperately needed today. Some cultures understand this better than others. In Japan, there's a deep cultural appreciation for ma — the space between things. It's found in music, in design, in conversation. Silence isn't awkward; it's respectful. Pauses carry meaning. What is not said can be just as powerful as what is. Speaking less doesn't mean knowing less — it often means knowing when to speak. Imagine how different our institutions, classrooms, and boardrooms would be if we respected that principle more. If we didn't equate noise with knowledge. If we made space for quiet leadership to rise. I see this often in my students and colleagues. The ones who speak softly but think deeply. The ones who hesitate before answering, not because they're unsure, but because they're weighing their words. I make a point to notice them. To encourage them. Because I know what it feels like to be overlooked simply because you're not loud. And I know what it feels like to carry weight silently. So, if you've ever felt like you don't fit the mould of a 'typical' leader — if you're the one who stays in the background, who observes more than you interrupt, who writes rather than performs — I want to tell you this: you don't need to raise your voice to raise the bar. You don't have to be loud to lead. You don't have to be the centre of attention to make a difference. Let your work speak. Let your presence speak. And when it's your time to speak, make sure it matters. Because not all leaders shout. Some listen first. Some build from the edges. Some lead with calm, with care, with quiet consistency. And in the end, when the noise fades, it's often their impact that lasts the longest. * Ir Nahrizul Adib Kadri is a professor of biomedical engineering at the Faculty of Engineering, and the Principal of Ibnu Sina Residential College, Universiti Adib Kadri is a professor of biomedical engineering at the Faculty of Engineering, and the Principal of Ibnu Sina Residential College, Universiti Adib Kadri is a professor of biomedical engineering at the Faculty of Engineering, and the principal of Ibnu Sina Residential College, Universiti Malaya. He may be reached at [email protected] ** This is the personal opinion of the writer or publication and does not necessarily represent the views of Malay Mail.
