A reluctant filmmaker who created classics on celluloid

MT Vasudevan Nair Photo Credit: File photo

May the soul of Shobhana Parameswaran Nair rest in peace.

If he did not succeed in persuading MT Vasudevan Nair to adapt his short story, Snehthinte MukhangalAs for the feature film he wanted to produce, Indian cinema has perhaps not had one of its best screenwriters and Malayalam cinema has not had many of its classics.

MurappenuA. The 1965 feature film, directed by Vincent, was the result of persuasion by Parameswaran Nair. MT had no desire to write a film. He enjoyed writing his short stories and novels. He finally agreed to write the script. Till then he had not even read the script.

Murappenu Revolutionized the art of screenwriting in Malayalam cinema. It was refreshingly realistic, and the characters spoke like real men and women, and not like they were on stage. Actually, screenplay in Malayalam cinema can be divided into two parts – first Murappenu and afterwards Murappenu.

Over the next five decades, MT wrote one classic after another. He collaborated with directors like Hariharan, IV Shashi and Bharathan to create many memorable films. The characters he wrote for the silver screen became a part of Malayali’s life. Such was the power of Chanthu’s words Oru Vadakkan Veeragatha Chanthu, the traitor of the ballad, became a tragic hero. of Unnimaya result And of Indira Panchagni She became one of the strongest female characters in Malayalam cinema with her admirable courage to take on the society.

MT gave us solid reasons for this Perumthachan to kill his own son. He moved us with the plight of ‘Velichappadu’. (Nirmalayam) and Dr. Haridasa’s fault (Amritham Gamaya). in ThajwaramHe showed us how a Malayalam film can be imagined as a western thriller (he was happy once this was pointed out to him in an interview).

He directed six feature films, including NirmalayamHis directorial debut which won the National Award for Best Film in 1974, bond and Manju. He was offered to direct more films but he did not want to be burdened with the financial commitment of a producer who would invest big money in the film. So, when it came to cinema, he limited himself to writing scripts (some 60).

One of his complete scripts adapted from his novel Randamuzham (The Second Turn) is yet to be shot and is waiting to be turned into a two-part film.