Sreenivasan, the master of self-defeatist tropes

In the present-day norms, it could be self-trolling. Perhaps no other scenarist wrote as many self-deriding characters as Sreenivasan did. He was, simply, a master at that. In short, the real Sreenivasan is always camouflaged by the characters he played in films. To know him better, one has to speak to him. Whether it's a casual conversation or a serious discussion, he always ensured he wrapped up his sentences with a joyful remark and a mouthful of laughter, reflecting his philosophy of life and sharing deeper meaning. And, his sincere take on life or society often turned out to be revelations, irresistibly true.

In movies, he exposes such realities in the light of humour that holds the key to appealing to the masses. A voracious reader, Sreenivasan already had his path cut clear before him and as a protege of K G George he mastered the art of screenplay writing. Thus, all he had to do was to pick themes from lives around him and sculpt the characters he met or knew. While he shaped the protagonists and the supporting cast, he kept the most invalid and the laughable ones to himself. Nonetheless, loaded with ripostes, quick wits, satirical prongs, his characters and dialogues seldom missed the target and their connotations resonated well with the audience.

Writing clownish characters
By getting into the skin of a stupid sidekick or a psychotic idiot, he exposed the vanities and the real thoughts, which people always tried to hide and suppress. Films like 'Vadakkunokkiyanthram', 'Pavam Pavam Rajakumaran,' 'Chinthavishtayaya Shyamala,' 'Sanmanassullavarkku Samadhanam,' all show Sreenivasan in a jocular shade. While each of those films narrated different tales, the characters remained distinct and closely resembled real people. At the same time, his characters exhibited the complexities and, at times, the clownish attributes inherent in every human being, no matter how heroic or valiant they are. A foolishly cocky police personnel, a Man Friday engaged in tomfoolery, a slapstick comedian, he tried them all.

Modelling on middle-class pangs
Sreenivasan was adept at excavating with clinical precision, the comical aspects, while unearthing the pains of middle-class struggles. However, treading along those Chaplin-esque lines, he went on to create some of Malayalam cinema's classic comedies. 'Nadodikkattu' and the sequels, 'Oru Maravathoor Kanavu', 'T P Balagopalan M A' and so on, thus captured the essence of middle-class life. As an actor, Sreenivasan chose to write characters that mirrored people's selves and played out their idiosyncrasies, whims, and fancies with finesse. He even appeared as a parody of deified figures in cinema. 'Udayananu Tharam', directed by Roshan Andrews and starring Mohanlal, is an example.

Political statements
Meanwhile, Sreenivasan had a clear political outlook as well, and when he unleashed it in his cinematic canvas, it was strident and loud. But there too, he did not leave it as pedagogical political discourse but laced it with humour. Simplicity in the narrative style was one of the most striking features of Sreenivasan's writing. It had a universal appeal, enthusing and entertaining all, irrespective of class, creed or gender. He was a writer who gave his female characters their due. They were not mute spectators to what was happening around them, but strong and equally powerful individuals, emboldened by their own wisdom, strength and self-esteem. They are not mere shadows of their male counterparts, but fighters even in the quagmire of misery and distress. He may not have paid too much attention to the details, but his conscious effort to give prominence to women characters was quite evident in all his writings.

Though his two directorial ventures, 'Vadakkunokkiyenthram' and 'Chinthavioshtayaya Shyamala', were successful, he gave vague reasons why he didn't pursue it further.

The commercial aspect
Even as he pitched realistic stories, an intelligent writer, Sreenivasan factored in the commercial aspects and dexterously invented humour through each of his characters and situations. However, in the later years he paid attention not to go too far for crackling humour. In films like 'Aravindante Athidhikal' (2018), 'Njan Prakashan' (2018), 'Makal' (2021), to 'Kurukkan' (2023) he chose to don roles, which are notably solemn and serious. Among the pantheon of his vast creations, 'Champakkulam Thachan', directed by Kamal, starring Murali in the lead, perhaps, slightly stood slightly different from the rest in his repertoire.

With the passing of the veteran humourist, writer and filmmaker, the era of comedy that evoked hearty, stomachful, truly boisterous and meaningful laughter has drawn to a close. Film researchers can, definitely, delve into his content to find out what earned his materials the class to transcend times, survive the change, and stay ever-relevant.