for a sure technology of malayalis, Srinivasan was as a lot part of rising up because the neighbourhood Chaya kada (with sickle and star emblazoned on it), the neighbouring kaavu or kolam.
His writing was deceptively easy, and gently lampooned present discrimination, skullduggery, politics, gender inequality, capitalism, the star system – something and all the things.
in vadakku Nikki yanthram he was the classical Malayali male. Brief, darkish, filled with complexes, needs a good stunning, bovine spouse, but is eternally paranoid of all the things and everybody after that.
within the nadodikattu sequence, he was a bumbling cop, eternally taking part in second fiddle. The scene the place he anaesthasizes himself with chloroform meant for the crime kingpin who is definitely a chook watcher makes me double up with laughter simply considering of it.
in chintavishtayayu Shamala he performed an much more broken model of vadakku nolki yanthram. Unable to carry a job, escaping actuality below the guise of assorted “noble” actions, driving his spouse to the sting.
in udayananu tharam, he performed Mohanlal with all of the eccentricities, star tantrums, aspect companies and but persuaded Mohanlal to behave in it taking part in a personality that resembles Srinivasan himself.
in sandesam he took goal at LDF and UDF and there are some scenes there that hit near the bone.
regardless of some sensibilities that got here with that point, he was a genius who identified oddities and points in society with a mild satirical air.
he was raconteur too. I favored to listen to his actual life tales of stars and cinema in fb movies. One which stood out for me was how completely different stars (esp Mammooty) and different movie individuals acquired collectively to assist him do a shoestring marriage ceremony when he was struggling and broke
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