With his left hand holding one end of his mundu (dhoti) behind his back, seemingly drunk, and smoking a beedi, Appu walks towards his house. Right before entering, he tosses away the stick. On the verandah sits his father, the velichappad (oracle) of the local temple (PJ Antony), who looks at Appu with pity. “Where were you all this time?” he asks. Appu, without meeting his father’s eyes, replies, “What’s the benefit of just sitting here?” and steps into the house. At a time when most film actors resorted to over-the-top and loud performances, sans subtlety, Edappal Ponnamkuzhi Veettil Parameswaran Sukumaran Nair made his cinematic debut through this scene in celebrated author MT Vasudevan Nair’s first directorial venture Nirmalyam (1973), now considered a classic. Despite the small role, he grabbed many eyeballs, thanks to his brilliant portrayal of a rebellious, unemployed young man vexed with the system and his living conditions. Thus, the film served as a stepping stone for Sukumaran, who later became one of the leading superstars in Malayalam cinema, and his impact is still felt in the industry, albeit indirectly, even 27 years after his passing.
One of the factors that made the superstar trio — Sukumaran, Jayan, and Soman — of Malayalam cinema in the ’70s different was that all three of them were ambitious young men who left their secure jobs to pursue acting and found success. While Soman had a career in the Indian Air Force, Jayan served many years in the Indian Navy prior to joining cinema. After completing his master’s degree in English literature with a gold medal, Sukumaran, who would have turned 76 on June 10 had he been alive, worked as a college lecturer before venturing into cinema. Eventually, the three became the pillars of the industry.
Actor Sukumaran was a superstar in Malayalam cinema in the ’70s. (Express archive photo)
A no-nonsense man
A man of letters with a penchant for literature and sharp political stances that aligned with leftist ideologies, Sukumaran was a no-nonsense person. Unlike others, he did not rush into acting in numerous films after Nirmalyam. He waited for the right opportunities, which soon came his way. However, not all of them managed to explore his untapped potential to the fullest. Nonetheless, his performance in Uttarayanam raised many eyebrows, particularly due to his brilliant dialogue delivery and ease of speaking English. The year 1977 marked a turning point in his career, as he began receiving more substantial roles, with directors taking full advantage of his exceptional dialogue rendition and unique pronunciation of words. His performance as Dr Venu in Sankhupushpam earned Sukumaran significant acclaim. Here, too, his dialogue delivery stood out. While others resorted to the conventional exaggerated style, Sukumaran’s delivery was different — natural, to be precise. Sankhupushpam marked a major shift in his career, leading to a significant upward trend. The following years saw Sukumaran appearing in a plethora of films, winning the hearts of moviegoers with each of his performances.
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As much as his serious nature helped his career, it also typecast him as the angry young man of Malayalam cinema, with most of his roles fitting this mould. Though the archetype did catapult him to the position of a superstar in no time, it also attempted to enchain him as an actor. “The main factor that made Sukumaran stand out was his fiery dialogue delivery. It reached a point where fans would be satisfied only if his character was given four additional strong, punchy dialogues, along with space for him to perform. Knowing this, scriptwriters ensured to slip long dialogues into Sukumaran’s mouth,” producer C Karunakaran wrote in Mathrubhumi in 2022, on the occasion of the actor’s death anniversary on June 16.
Sukumaran with film star Prem Nazir in the movie Anguram. (Express archive photo)
A jack of all trades
As if well aware of this, Sukumaran soon started breaking free from his persona, stepping out of his comfort zone to explore comedy and romance, while also developing a distinctive over-the-top style which later became iconic. Unlike many others, his style wasn’t theatrical; instead, he enhanced his own mannerisms, combining them with uniquely paced dialogue delivery and gestures that were both hilarious and crooked. While giving his fans goosebumps with his explosive performances in movies such as Angakkuri, Angaadi, Chaakara, Ahimsa, Kolilakkam, and Sphodanam, which all played a key role in cementing his status as a superstar, Sukumaran also took on romantic dramas like Kochu Kochu Thettukal, Mochanam, and Ishtamanu Pakshe, showcasing his versatility. This was further exemplified by his intense portrayal of characters undergoing extreme emotional rollercoasters, as seen in Manasa Vacha Karmana, and his effortless handling of comedy in movies like Kurukkante Kalyanam and Kinnaram. During the peak of his stardom, he also took on outright villainous characters in movies such as Thuramukham and Kazhukan, further highlighting that he did not belong to the league of conventional superstars. He also won the Kerala State Film Award for Best Actor for his performance in MT’s Bandhanam (1978).
“Arrogant, defiant, and rebellious” were some of the terms people of his era usually used to define Sukumaran. Indeed, he was all three, but his arrogance and defiance were rooted in his refusal to conform to norms and submit to the powerful. In an episode of Safari TV’s Smrithi, screenwriter John Paul recalled Sukumaran saying, “I am arrogant, yes. I feel pity for the actions of many people around me. If they can take pride in their contemptible behaviour, I certainly have the right to hold my head high and stand with arrogance, knowing that I don’t belong to their league. At the same time, I am more than happy to bow my head in reverence before the exceptional works of legends like Sophocles, Shakespeare, Kalidasa, and others who came before me. I have nothing but respect for those who earned their recognition solely through their merit.” Paul further noted that while Sukumaran approached and accepted significant and exceptional works with great respect, he did not hesitate to take on mediocre films for money, fully aware that they offered him nothing but that, highlighting his awareness of his skills and sharp practical knowledge. “Even when he was ostracised by the industry, opposed, and attacked, Sukumaran always held his head high. Even when he was wrong, he was the first to realise it, before anyone else.”
Sukumaran vs AMMA battle that resulted in an unannounced ban against him
His unyielding nature was so strong that Sukumaran even had run-ins with the Association of Malayalam Movie Artists (A.M.M.A). Calling him a “gentle lion,” screenwriter Kaloor Dennis noted in Manorama Online that in the association’s first year, Sukumaran filed a case against A.M.M.A alleging that “its selection process was faulty,” which resulted in an unannounced ban against him in the organisation. “When things started getting out of hand, there was a meeting chaired by different film organisations. Sukumaran came amidst a lot of drama and refused to apologise for filing a case against AMMA. Not just that, he also gave a strong speech in English against the workings of AMMA and left,” Dennis recounted, adding that the matter was, however, resolved later. Despite his “arrogance” making him some enemies, there was also a faction that admired his defiance, which ultimately led to his appointment as chairman of the Kerala State Film Development Corporation (KSFDC).
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However, with the rise of Mohanlal and Mammootty as the next generation of superstars, coupled with Sukumaran’s unwavering nature, the film industry gradually began to sideline him, leading to a decline in his leading roles. Nevertheless, Sukumaran, being the sharp man he was, quickly adapted and enthusiastically embraced supporting roles, paving the way for new actors. Even when assigned to smaller roles, he made sure his performances were memorable and impactful. And he did this effortlessly. From Advocate Jayachandran in Aavanazhi and Sahadevan in Padayani to Chief Minister KG Ramachandran in August 1 and Paul Kallookkaran in Unnikrishnante Adyathe Christmas, Sukumaran outshone almost all other actors in these projects, with each of his characters becoming iconic. Playing his age came naturally to Sukumaran, a feat that even today’s superstars often avoid. Not only did he gracefully accept such roles, but he also expanded his repertoire to include more villainous and comedic characters. While ensuring that his crooked and greedy cop roles of DySP Devadas in The CBI franchise and SP Nambiar in Adhipan earned significant and rightful disdain, thanks to the brilliant ways he brought out the grey shades in them, Sukumaran also won hearts with his stellar portrayal of the adorable local goon Uppukandam Kora in Kottayam Kunjachan. His antagonistic roles in Pingami and CID Unnikrishnan B.A. B.Ed. also captivated audiences, as his performances deviated significantly from the typical villain template.
Sukumaran with actor Balan K Nair in Kilippattu. (Express archive photo)
The superstar who turned a college student at the peak of his career
But cinema was just one of his many passions and Sukumaran time and again proved this. John Paul recalled that Sukumaran, after winning hundreds of hearts with his many performances, enrolled himself in a college and took an LLB degree while continuing his career as an actor. While reaping gold from cinema, he also did not hesitate to give back to the medium, not just in his capacity as KSFDC chairman. He bankrolled two movies, Irakal and Padayani, with the first one, helmed by ace filmmaker KG George, receiving acclaim as one of the greatest films to have ever come out of Malayalam. Nonetheless, Sukumaran’s principles extended beyond the film industry. In his personal life too, he maintained absolute dignity and did what he believed was right. In 1978, amid much clamour and judgements from many, Sukumaran married the love of his life, Mallika Pillai, who was, at that time, separated from her then-husband actor Jagathy Sreekumar, though their divorce was not yet finalised.
When his life was tragically cut short by a massive heart attack on June 16, 1997, Sukumaran was just 49, yet had achieved nearly everything an actor could dream of by then. 27 years later, his name still resonates, not only due to the impeccable work he did and his steadfast stances but also through his sons — Indrajith Sukumaran and Prithviraj Sukumaran — both of whom have established themselves in the industry. Many regard Prithviraj as a reflection of his father — “arrogant, defiant, and rebellious.” Thus, Sukumaran’s presence is felt in the industry even now.
