Writer M.T. Vasudevan Nair, in a collection of essays titled Kilivathililoode, terms Adoor Bhasi as an actor who evolved immensely and benefited out of it. Tracing an actor's journey through his oeuvre may throw up interesting facts about what made or unmade his acting and cinematic dispensation.
As in all build-ups, the early and formative years are crucial. In Malayalam, after the Left-backed theater movements sent its meticulously technical actors to films, like N.N. Pillai, Thilakan, and later, the more adaptable personalities like K.P.A.C. Lalitha, another milder and populist movement was taking shape in the background.
The Kathaprasangams and plays, the reality shows of yesteryear, was gently being replaced by a new art form where a scout of sprightly young men mimed and mimicked their ways into the hearts of people. As temple grounds and celebrations turned to mimicry artistes, the Kalabhavans and Guinnesses were celebrity tags, which brought in more viewers and money.
At least three super hit movies had mimicry and the lives of mimicry artistes as the main theme. Hits like Mimics Action 500 and Kasarkode Khaderbai threw up an array of actors from the stage to the silver screen. The migration was not one without its set of problems. The humor that worked on the stage – loud, screechy tonal implants and a swell of hyperventilation – could not be successfully adapted for the screen.
But a crop of actors managed to swim through the rip tide and find a place in the more placid cinematic ambiance, which the new and evolved audience wanted. Dileep was one. Dileep brought to films the rich mimicry experience and had in him the agility to adapt to the new format. The instant responses had given him the tactile ability to judge the pulse of the audience and this helped him immensely as he went about creating his cinematic edifice.
Here is a quick run through some of his most successful films.
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