Allappey SheriffWhen Sheriff, a native of Alappuzha, migrated from stories to screenplays, he was just a teen writer with a budding moustache eager to make his mark in the world of cinema. He started his career at the age of 18 by assisting Moidu Padiyath with the screenplay of Umma, a movie by Udaya Studio.
Though his schooling ended in Class 8, he was well read and thoughtful with deep insights. He had been writing stories from Class 6. Later, when many of his stories were published in magazines, they appeared with sketches by another youth, Sasi, who hailed from Kozhikode. Many years passed before the two met face to face. Sheriff had recollected that they experienced the magnetic pull between two creative people at their first meeting in Chennai.
By then, Sheriff had scripted two movies – Kalippava and Nathoon. He was thinking of turning the story Utsavam into a movie, and he decided to give its direction to his friend who created festival of colours with paint. It was the directorial debut of I.V. Sasi, who had by then earned a name as an art director and assistant director. Sheriff’s friend Ramachandran of Murali Movies produced the film, and it was distributed by none other than Kalanilayam Krishnan Nair.
Utsavam saw the birth of the strongest director-scriptwriter partnership in Malayalam cinema. They made 23 more movies: Anubhavam, Alinganam, Ayalkari, Abhinandanam, Asheervadam, Anjali, Akale Aakasham, Angeekaram, Abhinivesham, Aa Nimisham, Anandam Paramanandam, Anthardaham, Hridayame Sakshi, Innale Innu, Oonjal, Avalude Ravukal, Eeta, Iniyum Puzhayozhukum, Allauddinum Albhutha Vilakkum, Manasa Vacha Karmana, Anubhavangale Nandi, Ezhamkadalinakkare and Anuragi. Of the more than 100 screenplays that Sheriff wrote, the ones made by Sasi left a lasting impression.
The toddy shop near Rayban Theatre in Alappuzha was a classroom where Sheriff learned about life. Many prominent people used to drink there. Whenever he got time, Sheriff used to go there to learn their experiences. There he met some women who lost control of their lives. It was the life of one such woman with whom he spoke many times that led to the creation of Raji, a character in the novel, Avalude Ravukal Pakalukal. An actress whom he came to know well in movies later also inspired him. Once he finished it, he felt that it was not well crafted. He rewrote it only when it was turned into a screenplay.
At that time, no one had the courage to turn such a story into a movie. Sheriff met many producers with that story of a young prostitute. No one was happy with it. In the end, Ramachandran, who understood Sheriff well, agreed to produce that movie. But when Ramachandran agreed to take up the project, which many thought would burn their fingers, Sheriff warned him: “No! Ramachandran. Don’t take risk unnecessarily.” Sasi was ready to direct the movie. But Sheriff was hesitant to let the script, which was rejected by producers who were not sure of viewers’ support, turn into an experiment for Ramachandran.
One day, when he was sitting in Ramachandran’s office in Chennai, Pavamani of Sheeba Films came there. He said he wanted a good script for a movie. “Sheriff, narrate that story,” Ramachandran encouraged him. Without much hope, he narrated it. Then the fate of the movie, which was visualised only by the scriptwriter, changed and it was destined to be screened. “Ramachandran, you make the movie. I will give the money,” assured Pavamani. Ramachandran drew courage from Pavamani’s assurance to distribute the movie, and Avalude Ravukal was made. Sheriff’s assessment did not go wrong: the movie was a huge hit, and it became a turning point in the lives of Sheriff and Sasi.
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