Remembering Sukumari: A lifetime of unforgettable roles and performances

For most Malayalis, when they hear the phrase ‘society kochamma’, one image instantly comes to mind: Sukumari wearing her sunglasses, pearl jewellery, clutching a tiny Pomeranian, walking into the hall like she owns the club. It felt like she wasn’t just playing a character; she was the character. Or rather, Sukumari imprinted herself in our collective memory.

From the rich lady with perfect manners to the witty village woman with a sharp tongue, Sukumari became every shade of woman Malayalam cinema could imagine.

Born on October 6, 1940, in Nagercoil, Sukumari entered the world of cinema at the age of ten with the Tamil movie 'Oru Iravu' (1951). Acting, it seemed, wasn’t just a career she chose; it was her destiny. With over 2,500 films in six languages, her presence defined an era that spanned six decades. Her expressive eyes spoke when words failed, and her impeccable timing—whether emotional or comic—made the audience laugh or cry without fail.

On her birth anniversary, it’s hard not to feel nostalgic about that unmistakable charm. Sukumari’s presence could light up a scene, a home, and an entire generation’s memories.

A trained Bharatanatyam and Kathakali artist, Sukumari’s discipline flowed into her craft. Watch her dance in the fast-paced songs 'Nandalala' from 'Independence' (1999) or 'Kannare Kannare' from 'Raakshasa Rajavu' (2001), and you would see a performer who moved with precision and joy. Even in 'Poochakkoru Mookkuthi' (1984), as Revathi Kochamma, Sukumari shone in two dance sequences, one with Mohanlal and the iconic “twist dance” that recently went viral, proving that her energy could still light up the screen decades later. Every gesture was graceful; every expression, precise.

Her range was extraordinary. Think of Dikkammayi, the Anglo-Indian cook in 'Boeing Boeing' (1985), or Maggie Aunty from 'Vandanam' and Maggie from 'Dasharatham' (both movies starring Mohanlal and released in the same year). The Maggie in 'Vandanam' was a strict, bossy, strong, independent woman, while the Maggie in 'Dasharatham' was a silent, loving caregiver.

Think of Mrs Sulochana Thankappan in 'Thalayana Manthram' (1990) or Karthyayani Amma in 'Aram + Aram = Kinnaram' (1985). These weren’t just roles; they were templates for generations of actors to follow.

In Padmarajan’s 'Arappatta Kettiya Gramathil' (1986), she portrayed a villain of a completely different shade. Her character, Malu Amma, a brothel owner, depicted as a powerful yet exploitative figure in the film. It was this role that earned her both the Kerala State Film Award and the Kerala Film Critics Award for Best Supporting Actress. In several scenes, she seamlessly shifted from a caring mother to a harsh, furious woman within moments.

In 'Thenmavin Kombathu' (1994), Sukumari portrayed the vicious Ginjimooda Gandhari with remarkable ease, proving that whether it was dance, comedy, or negative roles, every kind of character was safe in her hands.

Her characters mirrored society’s changing values as well. Take Vishalakshi from 'Amma Ammaayiamma' (1998). On the surface, she was a selfish mother-in-law driven by greed. But when you watch it now, you see her differently: a woman with a progressive edge, telling her son-in-law to open a studio and stay home if he must. It was a bold thought for its time. The character was outstandingly impressive, then seen as a strong, opinionated woman considered arrogant, but today, she would be a total badass.

In 'Mizhikal Sakshi' (2008), she played Kooniyamma, a mute old woman lost in memories of her son. Without words, she made us cry. That was Sukumari—powerful without trying, unforgettable without effort.

Awards followed naturally: the Padma Shri in 2003, Kalaimamani in 1991, four Kerala State Film Awards, and the National Film Award for Best Supporting Actress for 'Namma Gramam' in 2010.

If I could say this, Sukumari ran so others could walk. A timeless symbol of versatility, spirit, and cinematic excellence, she continues to live on in every frame she graced.