Jagathy and the art of improvisation: Veteran filmmakers rally behind actor amid row

A recent remark by actor and filmmaker Lal about the legendary actor Jagathy Sreekumar has sparked a heated discussion among film enthusiasts across Kerala. While speaking about acting practices, Lal pointed out that actors spontaneously inserting additions during filming isn’t ideal, citing Jagathy as an example.

Lal remarked that Jagathy Sreekumar was known for unexpectedly introducing gestures or lines into a scene without prior discussion with the director. While many agree that an actor need not go beyond the director’s vision, especially when the filmmaker approaches a project with a complete and coherent plan, there are several iconic scenes in Malayalam cinema that owe their charm to an actor’s spontaneous brilliance. This raises an important question: Where does one draw the line between an actor’s creative freedom and overstepping the director’s intent? Veteran directors Blessy, Kamal, and K. Madhu weigh in.

A dialogue that he asked for: Blessy
“Whenever he acted in my films, Jagathy delivered exactly what the director wanted,” says filmmaker Blessy. “He fully brought to life characters like the lottery vendor in Palunku and Joseph in Thanmathra, both of which were serious, non-comedic roles. It wasn’t that I restricted improvisation; rather, the situations didn’t call for it. The characters were built in a way that didn't need spontaneous flourishes.”

Blessy also recalls another moment from 'Innale,' directed by P Padmarajan. “Padmarajan’s sets were not places where actors were strictly forbidden from contributing creatively. But he wrote every word and sentence with such precision that actors naturally gravitated towards delivering the lines as written. Still, I remember Jagathy, who played a character from another state in the film, asking Padmarajan for permission to alter a particular dialogue. That small change made the scene even more beautiful.”

“Lal said, no need for rehearsal, let’s go for the take’” – Kamal
“Some actors make spontaneous additions during rehearsals,” says veteran director Kamal. “Often, we modify the scene based on such improvisations. Jagathy has done this in several of my films. Especially in comedy, the actor’s contribution becomes crucial. What we write on paper may not always capture the potential as well as a performer with a sharp sense of humour can. Such artists can always elevate a scene far beyond our expectations.”

“It wasn’t just Jagathy, actors like Innocent, Pappu, and Oduvil Unnikrishnan also used to add lines or gestures on their own. If those additions suited the character and the flow of the scene, we would never object.”
Kamal emphasises the importance of balance: “When actors make suggestions during rehearsals, I’m open to incorporating them if they’re good. But if an actor introduces a spontaneous line during the take that disrupts the rhythm or puts fellow actors in a fix, I call ‘cut’ and ask them not to do it. Such unexpected changes can sometimes alter the mood of the scene.”

However, he adds, “In most comedy scenes, especially those involving Jagathy, the other actors were equally talented at improvising. They could respond to his cues effortlessly and take the scene forward in a natural, engaging way. So in my experience, it has never been a problem.”

“Let me share an incident from the shoot of my film Peruvannapurathe Visheshangal,” says Kamal. “There was a scene where Jagathy and Jayaram were bathing together in a pond. The idea was simple; Jagathy jumps into the water and ends up using the soap that Jayaram had brought for himself. I had only instructed Jagathy to show the leftover piece of soap in a comical way.”

“But during the take, Jagathy went a step further. He not only showed the soap but added a brilliant gesture that wasn’t in the script. The magic of that scene, however, lies in how Jayaram responded spontaneously. He picked up on Jagathy’s improvisation without missing a beat. That’s what made the moment so memorable.”

Kamal adds, “Had it been any other actor, they might have burst into laughter or fumbled their dialogue. But Jayaram held the mood and played along perfectly. Watching them perform, I didn’t call for a cut and they just continued with the scene. It turned out beautifully and that scene had the entire theatre roaring with laughter.”

“There are many such instances in cinema where artists add their own touches and elevate a scene. “Then there’s another story I often share about Mohanlal,” Kamal continues. “It’s from the film Ayal Kadha Ezhuthukayanu. There’s a scene in which Mohanlal’s character gets electrocuted and falls to the ground. I simply told him, ‘This is an electrocution scene.’ But Lal responded, ‘Let’s not do a rehearsal. Let’s go straight for the take. I might not be able to recreate it the same way if I rehearse.’ I agreed. If he was comfortable, we’d go ahead.”

“When we rolled the camera, Lal acted out the electrocution and collapsed to the ground. The way he performed it was so unexpectedly hilarious that everyone, myself included and even the cinematographer, burst out laughing. I completely forgot to say ‘cut’. And since I hadn’t called it, Lal, still lying on the ground, suddenly twitched again. That wasn’t in the script, but it brought the house down in theatres.”

“There are many gifted actors like him, including Innocent, who can deliver such spontaneous touches that enhance a scene. We only step in if such improvisations cause trouble for fellow actors. But on my sets, no actor has ever raised a complaint about it, and we’ve never had any issues.”

“In earlier times, actors themselves used to complain about such spontaneity, especially in the case of Adoor Bhasi,” Kamal recalls. “KPAC Lalitha once told me, ‘You know how difficult it was to act with Bhasi sir. He would do nothing during rehearsals, but when the camera started rolling, he’d deliver something completely different. It was incredibly hard for us to keep up and respond with the right counter dialogues.’”

“That was Adoor Bhasi’s style,” Kamal explains. “He would make spontaneous additions in a way that often caught fellow actors off guard. Not everyone could respond quickly with matching lines or emotions and that could cause confusion and break the flow of the scene.”

“In such situations, it becomes necessary for the director to intervene, call ‘cut’ and instruct the actor to stick to what was originally planned. In my experience, no actor has ever deliberately insisted on going against the director’s clear instructions.”

You can’t tie down an actor like Jagathy

“When it comes to our legendary comedy actors, if they had been told to strictly stick to the script and do only what the director said, many of our classic comedy films would never have come into being,” says Kamal. “You simply can't restrict someone like Jagathy. He’s a multi-faceted actor. You can’t bind him with instructions and expect magic. Even if the director narrates the scene in detail, Jagathy will still find his own way of bringing it to life. And honestly, if a director were to say ‘cut’ too quickly, we might lose those golden moments.”

Kamal recalls one such unforgettable scene from his film 'Ulladakkam': “Jagathy plays a man who approaches Mohanlal, a psychiatrist, with the bizarre complaint that he has swallowed a horse. I had written the scene, but never imagined it would turn out to be so funny. All I told Jagathy was to say the line, ‘Doctor, I have swallowed a horse.’ I had no idea what he was going to do beyond that.”

“When we shot it, Jagathy delivered the line and spontaneously let out a burp. It was completely unexpected, but Mohanlal instantly reacted in character, without missing a beat. The timing was perfect. That scene had audiences roaring with laughter in theatres.

“Transactions like these are part and parcel of the acting process,” Kamal explains. “There are many actors who are completely comfortable with this approach. Whether it's Lal, Dileep, or Jayaram, our leading stars are all capable of that give-and-take on set. Similarly, several comedy artists are naturally quick on their feet and able to react instantly.”

“What director Lal said recently may have come from a place of personal experience; perhaps he faced difficulty with such spontaneity in a particular scene or film. Lal himself prefers to do humour in his own unique style, which is perfectly valid.”

“In my view, there’s nothing wrong with an actor improvising, as long as it suits the story and the scene, and doesn't create confusion or trouble for fellow actors. But if co-actors are unable to respond appropriately or get thrown off by the addition, then the director must step in and call ‘cut.’ That’s my personal opinion.”

Remark on Jagathy unfortunate: K Madhu

Jagathy Sreekumar has acted in many of my films, often alongside stars like Mammootty, Mohanlal, Jayaram, and Suresh Gopi. Senior female artists like Sukumari Chechi and Kalpana have also shared the screen with him. What I’ve always observed is that Jagathy’s improvisations are never self-serving. They are meant purely for the betterment of the scene and the film. Misinterpreting such efforts is deeply unfortunate.

Even today, his memory remains razor-sharp and that's something I’ve experienced firsthand. In CBI 6, I cast him in a role and he delivered it flawlessly after thoroughly understanding the character. Hearing negative comments about him is genuinely painful. To me, Jagathy is not just a brilliant actor but also a brotherly figure.

Let’s be clear; no artist is allowed to improvise on a whim unless it adds value to the film and the director is always present to make that call. In all my films, Jagathy has never done anything to trouble his co-actors. If he wanted to add something to a scene, he would come to me, explain his idea in detail and ask me to communicate it to the others. He never bypassed the director to speak directly to fellow actors. That was his way of showing respect for the role of the filmmaker.

He would often whisper to me, “I plan to do it like this. Please let the others know or they might miss their cues.” I would then inform the rest of the cast so they could respond appropriately in the scene. Back in those days, we didn’t have digital camera. We worked with film stock, where every failed take meant a loss of precious reels. Today, we have the luxury of multiple takes.

In my CBI movie franchise, Jagathy Sreekumar was part of the first four installments. You can clearly see how controlled and nuanced his performances were throughout. Even though those films carried a more serious tone, he skillfully introduced subtle elements of humour through his mannerisms. Jagathy is an artist who believes in improvisation and he’s not alone in that. Many seasoned actors bring something extra to their roles beyond what's originally scripted. However, what sets them apart is the discipline with which they do it: always with the director’s knowledge.

A great example of Jagathy Sreekumar’s brilliance can be seen in 'Meesa Madhavan,' particularly in the scene where he discreetly enters a house. There’s no doubt he improvised extensively in that film, and to great effect. As the son of an eminent writer, Jagathy was a born artist.

From what I’ve observed, most directors actually welcome his improvisations because they are in tune with the mood of the scene. He has a deep understanding of camera angles and spatial awareness. Before any take, he would approach and tell, “Is it okay if I move to that angle?” or “I’m thinking of doing it this way” If his suggestion works for the scene, we adjust accordingly.

I’ve never seen Jagathy improvise in a way that would throw a fellow actor off balance. He’s someone who always improvised with the sole intention of contributing to the overall success of the film. His additions consistently elevated the scene and never disrupted it. If that weren’t the case, he would have simply stuck to the director’s narration without offering anything extra. That’s why it saddens me deeply to hear such a remark made about him now.