He transformed pain into humour: Sathyan Anthikad on Sreenivasan’s unique talent

Many years ago, during a train journey, a retired teacher asked Sathyan Anthikad a question that made him pause. She asked who he thought was the finest screenplay writer in Malayalam cinema at the time. It was an era when MT and Lohithadas were actively writing scripts, so Sathyan mentioned their names. However, the teacher’s answer was different. She said it was Sreenivasan because he wrote about the rawness of human life.

At that time, Sathyan didn’t fully appreciate her point, but in hindsight, he now realises that she was absolutely right. Sreenivasan's ability to capture the essence of human experience, with all its complexity, was unmatched. Despite being widely recognised for his comic roles on screen, Sreenivasan was not celebrated enough for his exceptional work as a screenplay writer. His screenplays, which ranged from humour to deep social commentary, underlined his extraordinary depth.

Sreenivasan, for Sathyan, was like the great Kunjan Nambiar or VKN—someone who believed that mere entertainment does not qualify as art. He was a true artist—unapologetically honest, raw, and deeply attuned to the human experience. To Sathyan, Sreenivasan was not just a colleague but also a mentor. Of the 58 films Sathyan directed, Sreenivasan wrote the scripts for 16. The lessons Sathyan learned from him continue to shape his own work, even in films where Sreenivasan was not directly involved.

Even when working with other screenwriters, Sreenivasan’s influence was always present in Sathyan's mind. His teachings about storytelling and character development continue to guide Sathyan to this day. But beyond cinema, Sreenivasan was a constant support in Sathyan’s personal life. Their discussions often extended far beyond the world of films, delving into the larger questions of life itself.

Every two weeks, Sathyan would drive to Sreenivasan’s home in Kandanad, without fail. Vimala, Sreenivasan’s wife, would often joke that even before Sathyan left his home in Anthikkad at 8 AM, Sreenivasan would already be up and ready to receive him. By the time Sathyan arrived around noon, Sreenivasan would greet him with, “Why are you so late?”

The two would sit for hours, discussing everything from cinema to life. Slowly, as they talked, the illness that had plagued Sreenivasan seemed to fade into the background, replaced by the flood of old memories. By the end of the day, both would feel recharged, as if they had shared a deep, unspoken bond that renewed them both.

Even as his health deteriorated, Sreenivasan’s intellectual sharpness never wavered. He continued to observe the socio-political realities around him with remarkable clarity. His foresight as an artist was evident in his work. Just before writing 'Sandesham', Sreenivasan told Sathyan, “This film will have conversations that people will remember for a long time.” At that time, even the story had not been finalized, but Sreenivasan’s instinct proved correct—today, the dialogues from 'Sandesham' are still quoted regularly by Malayalis.

Sathyan’s first collaboration with Sreenivasan was on 'TP Balagopalan MA', and from that point, a deep bond formed between them—one that transcended the typical director-screenwriter relationship. Their connection was like family. They discussed not just films, but everything from buying homes to cars. There was no hesitation or ego in their conversations—they corrected each other openly, with mutual respect.

Sathyan had the privilege of seeing a side of Sreenivasan that few others did—his deep sensitivity. He often witnessed Sreenivasan tear up while listening to or recounting the struggles of people he had never even met. This rare ability to absorb the sorrows of others made Sreenivasan an artist capable of transforming intense emotions into unforgettable characters, often masked with humour.

Sreenivasan never shied away from criticising politicians, often using sharp wit to point out flaws. When Sathyan asked him about it, Sreenivasan would simply smile and reply, “You are very diplomatic.”

During his recovery from a stroke, Sreenivasan wrote the script for 'Njan Prakashan'. Initially, he had decided not to write at all, but when Sathyan suggested that he narrate the story while Sathyan wrote it down, Sreenivasan chose to write the entire script himself.

When Sathyan asked Sreenivasan to play the role of Gopalji in 'Njan Prakashan', Sreenivasan was hesitant. He worried that his condition might make it difficult for him to memorize the dialogues, and suggested Siddique for the role. But Sathyan insisted, telling him, “It’s my set; I’ll take care.” Sreenivasan eventually agreed, and without complaint, brought the character to life.

The last time Sathyan spoke to Sreenivasan was just three days before his passing. The call was to inform Sreenivasan about the award instituted in the name of the late Unnikrishnan Namboothiri, father-in-law of lyricist Kaithapram Damodaran Namboothiri.

Sreenivasan was a legend—his contributions to cinema cannot be captured by words alone. There will never be another like him. His loss is immense, both personally and professionally. As a national award-winning artist, Sreenivasan leaves behind an unmatched legacy. Films like 'Chinthavishtayaya Shyamala' continue to showcase his ability to blend profound social critique with humour. His satire never provoked anger or confrontation; it invited reflection without causing harm.

Sreenivasan’s loss is irreplaceable. He leaves behind countless memories—memories that Sathyan can lean on, return to, and reflect upon, even in silence. Sreenivasan was not only a filmmaker but also a friend, a mentor, and a human being of rare depth and sensitivity. His impact on both cinema and the personal lives of those who knew him will never be forgotten.