Well, is that every one he’s accomplished? Absolutely not! He has additionally given a number of the greatest names within the Indian movie business the roles that outlined their careers. From Malayalam celebrity Mohanlal and Bollywood icon Akshay Kumar to Paresh Rawal, Kareena Kapoor, Anil Kapoor, Suniel Shetty, Rajpal Yadav, Nedumudi Venu, KPAC Lalitha, Revathi, Shobana, Jagathy Sreekumar, Lissy, Innocent, and MG Soman, the record goes on.

Priyadarshan began off by working as an assistant director within the 1978 Malayalam movie Thiranottam, which additionally marked the performing debut of long-time collaborator Mohanlal. Several individuals who went on to grow to be distinguished figures within the Malayalam movie business, together with actor Maniyanpilla Raju and producer G Suresh Kumar, additionally labored on this movie. The movie was delayed from its preliminary launch as a result of reported censorship points, and it lastly got here out in 2005.

The whizz, who has to date directed over 90 motion pictures in 4 Indian languages—Malayalam, Hindi, Tamil, and Telugu, made his directorial debut with the screwball comedy Poochakkoru Mookkuthi in 1984.

His most well-known Malayalam movies embrace Kilukkam, Chithram, Mazha Peyyunnu Maddalam Kottunnu, Vellanakalude Nadu, Vandanam, Thalavattam, Thenmavin Kombath, Kaalapani, Chandralekha, and Mithunam; nevertheless, he obtained pan-India recognition for his Bollywood motion pictures comparable to Hera Pheri, Bhool Bhulaiyaa, Hungama, Garam Masala, Bhagam Bhag, and Hulchul.

In his resplendent movie journey, Priyadarshan has had many ups and a good variety of downs, particularly in his residence floor. But it can’t be denied that he was chargeable for a few of Malayalam cinema’s biggest successes. As he turns 66 on January 30, let’s have a look at the director’s Malayalam cinema profession over time.

The 80s

While Malayalam cinema was witnessing a paradigm shift with pioneers comparable to Ok G George, G Aravindan, Bharathan, P Padmarajan, and Adoor Gopalakrishnan delivering back-to-back masterworks, Priyadarshan arrived together with his jocund Poochakkoru Mookkuthi (1984), starring Mohanlal, Shankar, Menaka, Nedumudi Venu, and Sukumari amongst others. In addition to being an ideal hit, the film spawned a tonne extra screwball comedies in Malayalam. The identical 12 months, he helmed one more screwball comedy, the massively profitable Odaruthammava Aalariyam.

1985 and 1986 had been fairly bustling for the filmmaker as he helmed a complete of 11 motion pictures. Apart from his ordinary screwball comedies, Priyadarshan additionally tried his hand at crime drama (Parayanumvayya Parayathirikkanumvayya), slapstick comedy (Aram + Aram = Kinnaram), and tragicomedy (Thalavattam) in these years. Unsurprisingly, all the films had been moderate-to-extreme hits, making him one of the profitable filmmakers of the period. In 1986, he additionally penned the scripts for Sibi Malayil’s Chekkeranoru Chilla and Alleppey Ashraf’s Ninnishtam Ennishtam.

The maker took a step again in 1987 after he didn’t make his directorial debut within the Tamil business. Though the taking pictures for his Chinnamanikkuyile, starring Karthik and Rekha, was nearly accomplished, the movie was by no means launched as a result of unknown causes. He made just one different film that 12 months—the drama Cheppu.

Priyadarshan and Mohanlal. (Photo: Priyadarshan/Facebook)

The director triumphantly made a comeback in 1988, helming all kinds of flicks. Of the full 5 motion pictures he made that 12 months, 4 had Mohanlal within the lead roles. While his comedy-drama Chithram went on to grow to be the highest-grossing Malayalam movie of all time, enjoying in two theatres in Kerala for over 300 days, the director’s political satire Vellanakalude Nadu and motion crime movie Aryan had been two of the highest-grossing Malayalam movies of the 12 months and performed for over 100 days in cinema halls.

Even although his Mukunthetta Sumitra Vilikkunnu developed a cult following over time, particularly for the mixture scenes of Mohanlal and Sreenivasan, the flick obtained little consideration when it was first launched. In the meantime, Oru Muthassi Katha, wherein Priyadarshan labored sans his ordinary stars, was a field workplace failure.

A subdued Priyadarshan made solely three movies in 1989 and 1990. In truth, his 1989 movie Vandanam, which went on to grow to be one of the famend romantic comedies in Malayalam cinema, had a less-than-stellar field workplace efficiency, making it a nasty 12 months for the director. On the opposite hand, his motion thriller Dhanushkodi, penned by T Damodaran, was deserted halfway by manufacturing owing to budgetary causes.

Nonetheless, he struck again the next 12 months by making two movies that had been sequels to 2 well-known duologies. Priyadarshan’s Kadathanadan Ambadi, a follow-up to the 1964 movie Thacholi Othenan (Dir. S S Rajan) and the 1970 movie Othenente Makan (Dir. Kunchacko), was praised for its technical grandeur. He stored the ball rolling by helming the sequel to Sathyan Anthikad’s Nadodikkattu (1987) and Pattanapravesham (1988) as properly. Titled Akkare Akkare Akkare, the buddy-cop comedy movie did properly on the field workplace however was not very profitable due to its hefty manufacturing prices. Nevertheless, the Mohanlal-Sreenivasan traces comparable to “Sadhanam Kayyilundo,” and their mixture moments grew to become iconic thereafter.

The 90s

Though this decade was the interval when Priyadarshan expanded his base and began doing motion pictures in different languages, he by no means ceased visiting residence and dealing together with his favourites.

Priyadarshan with Mohanlal, Revathi and Jagathy Sreekumar on the units of Kilukkam. (Photo: Priyadarshan/Facebook)

In 1991, Priyadarshan and actor-screenwriter Venu Nagavalli teamed as much as produce one in all Malayalam cinema’s greatest comedies, Kilukkam, which was the highest-grossing Malayalam film of its time and performed in theatres for greater than one year. The film had such an affect on Kerala’s fashionable tradition that Malayali viewers nonetheless bear in mind each shot, scene, and line from it.

T Damodaran wrote his subsequent two motion pictures, Abhimanyu and Adhwaytham, each of which had been commercially profitable crime dramas. With the household comedy Mithunam, Priyadarshan returned to his consolation zone in 1993 earlier than taking a 12 months off from directing Malayalam motion pictures.

The director made two Malayalam movies in 1994, and each weren’t solely business successes but additionally grew to become two of probably the most beloved Mohanlal movies of all time—Thenmavin Kombath and Minnaram.

However, it took the director 22 years to show himself as a meticulous director who was extra than simply slapstick and screwball. In 1996, Priyadarshan directed the technically stellar Kaalapani. The film was the most costly Malayalam movie produced as much as that time, costing roughly between Rs 2.5 crore and Rs 5 crore, in keeping with varied information experiences. The film was additionally dubbed and launched in Tamil, Telugu, and Hindi. Superstar Amitabh Bachchan bought the Hindi dubbing rights for the movie and likewise offered narration for the Hindi model’s prologue. The movie gained 4 National Film Awards—Best Cinematography (Santosh Sivan), Best Art Direction (Sabu Cyril), Best Special Effects (S T Venky), and Best Audiography (Deepan Chatterji). The film additionally bagged seven Kerala State Film Awards.

Priyadarshan with Mohanlal, Amrish Puri and others on the placement of Kaalapani. (Photo: Priyadarshan/Facebook)

The historic fiction film included a various forged of performers from completely different languages. The ensemble forged of the movie included Mohanlal, Tabu, Prabhu, Amrish Puri, Vineeth, American playwright John Kolvenbach, Annu Kapoor, Sreenivasan, Delhi Ganesh, Nedumudi Venu, Sankaradi, and Tom Alter. The songs within the film, composed and performed by Ilaiyaraaja, are nonetheless well-liked in Kerala. The movie was shot within the Andaman and Nicobar Islands and a number of other elements of Kerala and Chennai.

Following Kaalapani, Priyadarshan made solely two Malayalam movies on this interval—the Mohanlal starrer Chandralekha in 1997 and the Mammootty starrer Megham in 1999. For their wit and the performances of just about all of the actors concerned, each motion pictures gained quite a lot of reward.

The 2000s

In this 10-year interval, the director solely made 4 Malayalam movies. Following the discharge of his cult traditional Bollywood movie Hera Pheri and the Tamil thriller thriller Snegithiye in 2000, Priyadarshan returned to his residence turf in 2001 with the Mohanlal starrer Kakkakuyil.

He teamed up together with his talisman author, Sreenivasan, in 2003 and made the romantic comedy Kilichundan Mampazham. The maker didn’t cease there and made one other movie the very subsequent 12 months, Vettam, one more screwball comedy. His fourth movie, nevertheless, was the long-delayed Raakilipattu. The film, which was initially meant to be a bilingual manufacturing in each Tamil and Malayalam, was as a substitute solely launched in Tamil beneath the identify Snegithiye. The Malayalam model, Raakilipattu, wasn’t launched till seven years later. Therefore, technically talking, Vettam was his closing movie of the last decade.

Priyadarshan with Jyotika throughout the taking pictures of Snegithiye. (Photo: Priyadarshan/Facebook)

While Kakkakuyil, Kilichundan Mampazham, and Vettam managed to fulfill standard followers of each comedy movies and Priyadarshan cinema, thus turning into main hits, neither Snegithiye nor Raakilipattu did wonders on the field workplace however bagged optimistic opinions from critics.

This was additionally the interval when individuals began criticising the director’s tendency to maintain utilizing concepts that had beforehand labored for him, even after that they had misplaced their effectiveness.

Post 2010

It is plain that the filmmaker, who previously surfed the wave of success for a few years, is presently going by a tough patch. Of the full 11 motion pictures he made since 2011, throughout varied languages, solely two had been hits, whereas the others didn’t impress the viewers.

After 2010, Arabeem Ottakom P Madhavan Nayarum in Oru Marubhoomikkadha (2011) was his first Malayalam film. Even although the film had a mediocre field workplace efficiency, many viewers had been unimpressed due to the movie’s heavy déjà vu issue, significantly within the Mohanlal and Mukesh mixture moments.

In 2013, the director returned with a horror movie titled Geethaanjali, which offered Keerthy Suresh, the daughter of two of Priyadarshan’s closest associates producer G Suresh Kumar and yesteryear actor Menaka, her first lead position. The movie was panned by critics and viewers alike for not doing justice to any of its parts, together with the style, and tanked on the field workplace. The very subsequent 12 months, he made one other film starring Jayasurya and Piaa Bajpai. Despite incomes blended opinions from critics, the comedy-drama, Aamayum Muyalum, finally failed on the film workplace due to its flimsy plot.

The maker, nevertheless, snapped again in 2016 and delivered an enormous hit, the Mohanlal starrer Oppam. A criminal offense thriller, Oppam impressed each critics and audiences, together with the diehard followers of the celebrity, and ended up being one of the profitable movies of that 12 months. Both the actor’s efficiency and the director’s ability to craft an edge-of-the-seat thriller obtained reward from all quarters.

In 2018, Priyadarshan reunited together with his favorite actor Mohanlal as soon as extra and determined to lastly launch his dream undertaking, on which he had been working because the Nineteen Nineties.

The maker and his group began Marakkar: Arabikadalinte Simham’s pre-production actions in late 2018. The film, one of the costly Malayalam motion pictures ever made, was produced by Antony Perumbavoor’s Aashirvad Cinemas with an approximate price range of round Rs 100 crore.

Despite the film’s meant March 19, 2020 launch date, the Covid outbreak and subsequent lockdowns threw a wrench in its plans. The movie, in the meantime, gained three awards—Best Feature Film, Best Special Effects, and Best Costume Design—on the 67th National Film Awards. After a number of reschedulings, Marakkar lastly hit theatres on December 2, 2021. However, it met with extreme criticism from audiences upon launch. Though the movie had a whopping Rs 20 crore opening on the worldwide field workplace, the collections slowed down within the following days and the film ended up being an abject failure.

Criticisms towards Priyadarshan movies

Over the previous couple of years, the director has been chastised many instances for his works, particularly the sooner ones with author T Damodaran, for his or her exaltation of upper-caste characters and anti-reservation proselytism.

While movies like Chandralekha, Kakkakuyil and Kilukkam smuggled the ‘Nair pride’, albeit concealing them tightly utilizing humour, the maker’s Aryan and Adhwaytham had been proudly casteist in nature and narrated the tales of UC heroes residing in royal mansions however beneath ‘penurious’ situations, to assert that reservation was the foundation reason behind all social inequalities as a result of it was “stealing the opportunities of the actual poor”.

The director has additionally drawn criticism for utilizing plots, tales, and sequences from different motion pictures, significantly international ones, with out correctly citing the supply materials. From One Flew Over the Cuckoo’s Nest (1975), While You Were Sleeping (1995), and French Kiss (1995) to Chashme Buddoor (1981), Boeing Boeing (1965), and A Fish Called Wanda (1988), he has lifted parts from so many movies that one is left to query if he has ever produced any authentic work.

However, his capability to create hits and fill cinema halls with applause is unquestionable. Hence, a full-on Priyadarshan film continues to be all that it takes to make the moviegoers paint the city purple.