Is 'Sukhamano Sukhamann' Mathew Thomas's version of 'Sarvam Maya'? Director weighs in

In a quietly emotional moment in ‘Sukhamano Sukhamann,’ Spadikam George’s Vallyappachan looks at Mathew Thomas’s Theo and softly asks, “Are you okay?” That simple question captures the heart of the film — a gentle exploration of loneliness, the need to belong, and the search for validation.

Screenwriter turned director Arun Lal Ramachandran, shares that the idea for the film came from a line in MT Vasudevan Nair’s writing about a young man visiting a funeral home. “That image stayed with me,” he recalled. “From there, the story evolved into that of a boy working at a crematorium, who, in his isolation, meets a group of imaginary people.”

However, Arun quickly downplays any comparisons to fantasy films like ‘Sarvam Maya.’ “We originally planned to release the film in December, but I knew our story wasn’t about fantasy,” he said. “The ghosts in ‘Sukhamano Sukhamann aren’t here for supernatural thrills. At its core, this is a family drama, and the story unfolds through Theo’s eyes. This young man simply wants people around him, and in a way, they do show up.”
For Arun, the film's central theme is loneliness. Each ghostly character fills an emotional gap in Theo’s life. “He could have been misled, but he chooses connection,” Arun said.

“Though not physically present in the usual sense, these characters guide him.” Arun also wanted the tone of the film to remain light, despite dealing with heavy themes. “Loneliness can be a tough subject, but I didn’t want the story to feel too heavy,” he says. “It’s not a laugh riot, but the balance ensures the film stays focused on the main story while still being approachable.”
The film features a mix of actors stepping into ghostly roles for the first time. Spadikam George, known for his strong villainous roles in Malayalam cinema, plays a lovable grandfather ghost, wearing a blue bathrobe throughout.

“I wanted to cast actors who had never taken on these kinds of roles before,” Arun said. “That’s how Spadikam George came to mind. Each ghost is designed to represent a different emotional need in Theo’s life.”
Arun carefully designed each supporting character to reflect different aspects of Theo’s emotional world. “There’s Spadikam George as the educated, professor-like Vallyappachan, the traditional grandmother, the rough-edged goonda, the symbolic presence of a mother, among others. Each one represents a distinct emotion — five emotional anchors,” he said.

Interestingly, the film was initially conceived with a protagonist in his 40s or 50s. That changed after Mathew Thomas showed interest in the project. “When Mathew and I spoke, I felt the role was made for him,” Arun said. “If Theo were older, his trauma might have taken him to a darker place. But with Theo in his early 20s, it felt right.” He also mentions that the film was initially supposed to be produced by Dulquer Salmaan (as Wayfarer’s first film), who encouraged him to pursue directing. Arun recalls pitching the script to Dulquer: “I’d always dreamed of entering Mammookka’s house whenever I passed by. Finally, I got the chance when I went to narrate the story. Dulquer liked the project and had even planned on producing it, but he got busy with major films, including Mahanadi.”

The casting of actor Jagadish was particularly personal for Arun. “I know someone who went through the same experience as Jagadish chettan’s character in the film,” Arun shared. “I wanted an actor who could balance humor with the emotional weight of the character, and Jagadish chettan brought that depth to the role.”
A conscious avoidance of melodrama
Arun said he consciously avoided melodrama in the movie. “The aim was to address loneliness and trauma in a way that’s lighthearted, but not trivial,” he said. This approach extends to the handling of Devika Sanjay’s character. “Her death isn’t the focal point of the film. We deal with multiple deaths, and I didn’t feel the need to delve too deeply into that.”

The core characters — played by Mathew Thomas, Jagadish, and Devika Sanjay — each carry hidden emotional burdens. Arun believes many of these burdens stem from childhood trauma. “The root often lies in childhood — small incidents, neglect, or abuse — and people carry these scars for decades,” he said. “Without validation, they stay stuck. I felt this vulnerability could be best portrayed through a young character, which is why casting Mathew was crucial. Through Mathew’s Theo, I could present a childhood flashback to make the wounds more visible,” he added.

From scriptwriter to director
Arun’s shift from scriptwriting to directing follows years of collaboration with filmmakers like Shaji Kailas and Rajesh Pillai. He wrote the screenplay for Vettah and the story for Karinkunnam 6s. “From Shaji Kailas sir, I learned discipline and time management. Sukhamano Sukhamman was scheduled for 42 days — we finished in 36,” Arun said. “From Rajesh chettan, I learned how to approach scenes from different emotional angles.”