I still remember the first time I read the book Parinayavum Mattu ThirakthakalamFeaturing three screenplays – Parinayam, Kaadavu and Sadayam – written by MT Vasudevan Nair. I saw all three movies growing up, probably more than once, but reading their texts was a truly defining experience for me. As a teenager, I realized then that movies are more than just the actors and their performances. Soon, I managed to find a copy of the film always (1992) and revisited it, with the book next to me, soaking in the magical way in which written words transformed into visuals, moving images, and eventually a full film.
The literary flow of the work, combined with great characterizations – where each person has sharp and strong arcs – enriched by more vivid imagery and careful descriptions, taught the youth, who were already fascinated by movies, valuable lessons in cinema. At the same time, I also couldn’t help but think that MT, famous for his extraordinary novels and short stories, which has the space and luxury to reveal inner thoughts and character backgrounds, could create such remarkable screenplays – where one. More needs to be shown than told. Well, that was it MT Vasudevan Nair; Whatever the medium, if it involved language, he accepted it, whether it was written or visual.
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As much as he was the doyen of Malayalam literature, MT was also one of the path-breaking figures in the cinematic landscape, redefining the grammar of the medium at a time when it was still heavily influenced by the traditions and style of commercial drama. . Facilitating the marriage between literature and cinema in Malayalam, MT ushered in a new era in the industry, along with other legendary writers like Vaikom Mohammad Basheer, Thakazhi Sivashankar Pillai, Urub, P Keshavdev and Malayattur Ramakrishnan, who defined humanism with stories that evoked. A realistic portrayal of the life, struggle and liberation of the common man was ensured.
Born on July 15, 1933 in the village of Cudalur in Palakkad district, by the time he entered cinema, MT had won the hearts of countless Malayalis through his influential and poignant short stories and novels. Naluketu, Pathiravum Pakalvelichum, Asuravithu, Manju and Olavham Theravamwhich played an important role in shaping modern Malayalam literature.
Cinematographers Vincent, RS Prabhu of Chandrathara Productions, Ramu Kariat, K Parameswaran Nair, MT Vasudevan Nair, Adoor Bhasi, film distributors Chandran and K Padmanabhan Nair. (Express archive photo)
Living up to the hype surrounding his arrival, MT made a spectacular foray into cinema with Murappenu, directed by renowned cinematographer-director A. Vincent, which became an instant success garnering widespread acclaim. Centered around the practice of cousin marriage, Murappenu also exposed the arbitrariness of blood ties, emphasizing that economic value often determined one’s place in family structures. Interestingly, the movie starring Prem Nazir, Sharda, Madhu, KP Umar, PJ Antony and Jyoti Lakshmi has also exposed the hollowness of so-called prestige and “value of words”. savarnas Often worn as badges of glory and honor, showing how these ideals are, in fact, for sale.
MT’s literary mastery and command over the Malayalam language made an immediate impact on both filmmakers and audiences. Thus, he continued to get projects one after the other and he gave extraordinary works, including notable titles such as Pakalkinavu (1966), Iruttinte Athmavu (1967), Nagrame Nandi (1967), Asuravithu (1968), Nijalaattam (1970), Olavum . Theravam (1970), Mapusakshi (1971), Kuttyedathi (1971), and Vithukal (1971), many of which were based on his own literary works.
MT Vasudevan Nair was born on 15 July 1933 in Kudallur village of Palakkad district. (Express archive photo)
Both MT’s literary works and films delve deeply into the fabric of society and human nature, exposing the gray within. He constantly challenged conformist ideologies, distancing himself from the filth of his time. While many filmmakers have often tried to portray rape victims as outcasts or kill off such characters – a trope that has continued in recent years – MT takes a very different approach, insisting that survivors should never bear the burden of shame for the crimes committed against them. In Olavham Theravum, the protagonist Baputti (Madhu) declares without hesitation that her lover Nabisa (Ushanandini) has not lost an iota of her dignity or worth because of the rape she suffered. Confronting the culprit Kunjali (Josh Prakash), he declares, “She didn’t agree with what happened. Not even a small part of her heart agreed with it. I will marry Nabisa knowing full well that you violated her.” For a society that treats women as lesser mortals—let alone survivors of sexual violence—and worships gods who abandon their wives on charges of adultery, this dialogue and Baputti’s stance is a powerful, fundamental statement.
Two years later, when he made his directorial debut with Nirmalyam (1973), MT moved further away from conventional cinema and social norms. He made a film that critically examines theism, exposes the futility of blind devotion and questions the amount of time people spend praying for a better life instead of actively pursuing it. What set MT apart was his ability to weave such strong political commentary into his work without sacrificing aesthetic value. In one of Indian cinema’s most iconic and provocative scenes, Nirmalyam ends with the protagonist, an oracle (PJ Antony), performing a traditional dance before the goddess and in an act of defiance, he spits blood at the deity, condemning the deity for neglect. Wreaking havoc on his life despite his unwavering devotion.
MT Vasudevan Nair received the National Film Award for Best Screenplay from the then President R Venkataraman. (Express archive photo)
Significantly, MT refused to limit itself to a single style or genre and explored a wide array of themes and stories. Yet, all his works bear his unmistakable signature – authentic, deep-rooted characters, especially women, whose inner lives are carefully explored, as evident in films like Kanyakumari (1974), Neelathmara (1979) and Opole (1981).
In the 1980s, MT forged influential collaborations with filmmakers and actors, partnerships that significantly shaped his career and deeply integrated him into mainstream cinema. During this period, he teamed up with filmmakers IV Sasi and Hariharan to deliver notable films like Uyarangalil (1984), Alakkuttathil Thaniye (1984), Adiyojukkukal (1984), Anubandham (1985), Panchagni (1986), Nakkhasthal (1986). Abhayam Thedi (1984).
Watch Mammootty talking about MT Vasudevan Nair here:
Many of these films featured budding actors Mammootty and Mohanlal, for whom the collaboration with MT proved transformative. One of the hallmarks of MT’s script was its ability to create great opportunities for both actors and technicians. His films were not just about his writing ability but were collaborative efforts where each cast and crew member was given a place to shine. Films like Amritham Gamaya (1987) and Oru Vadakkan Veeragatha (1989) were instrumental in not only establishing Mammootty and Mohanlal as exceptional actors but also in boosting the careers of everyone involved. Not only MT but others also received prestigious accolades, including both national and state film awards, for their contribution to films written by him. While PJ Antony became the first Malayalam actor to win the National Film Award for Best Actor for Nirmalyam, Balan K Nair (Opol), Mammootty (Oru Vadakkan Veergatha) and Monisha (Nakhkshathangal) also won National Awards for their performances in MT’s films.
MT’s cinematic prowess became more apparent with his partnership with Bharathan. Painter-turned-director Bharathan ensured visually stunning storytelling and the director translated MT’s evocative stories into striking visuals, creating unforgettable cinematic experiences in films like Vaishali (1988) and Thajvaram (1990). During this period, MT also ventured into new territories, creating folklore-inspired films like Perumthachan (1990) and Vaishali as well as exploring genres he had not explored before, best exemplified by the mystery thriller Uttharam (1989). Malayalam movies in that genre. In the 1990s, MT shifted its focus to darker and more introspective themes, producing some of Malayalam cinema’s most emotionally intense films, including Kadavu (1991), Sadayam and Sukrutham (1994).
MT Vasudevan Nair with Babu Antony, Ashokan, Bharathan, Nedumudi Venu, MM Ramachandran, Krishnamurthy and Madhu Ambat on the sets of Vaishali. (Express archive photo)
However, MT’s repertoire was not limited to political themes or hard-hitting dramas as he also made deeply touching films that explored the complexities of human relationships and longing for a friend in films like Ennu Swantham Janakikutty (1998), Oru Cheru Punchiri (2000). ) — one of the most surreal love stories in Malayalam cinema — and Teerthadanam (2001).
By 2000, MT had largely retreated from cinema, achieving unprecedented success. His only major original work during this time was Kerala Varma Pajahassi Raja (2009), an epic period drama directed by Hariharan and starring Mammootty. In 2013, MT and Hariharan reunited and revived their aborted 1982 project Evideo Oru Shatru. The story was remade and portrayed afresh as Ezhamathe Varavu, starring Indrajith Sukumaran, Vineeth and Bhavana in the lead roles.
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Notably, 2024 has also been released ManorthangalAn anthology streaming series consisting of nine volumes based on the short stories of MT. Commemorating his immense contribution to Malayalam literature and cinema, the series served as a heartfelt tribute to the legendary Jnanpeeth awardee.
Yes, the MT Vasudevan Nair passed away It has created an irreparable void in the field of Malayalam literature and cinema. Yet, this is not a loss, because he left his people, us, with the gift of every story within him, no story left out or unshared. Thank you, MT, for teaching us that a story without a soul is no story.
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