I have seen many actors who are better actors off-screen than on-screen. So much so that they could give Sivaji Ganesan and MN Nambiar a run for their money. And if they had even shown 10% of that acting prowess on screen, they would have won so many awards by now.
All right, so this introduction was just my way of saying how much I abhor the fakeness exhibited by some actors after they meet you after a long interval. It will be all air-kissing and hugging and you know it’s all an act!
But I won't say all the actors are like that. I have seen a few actors who are genuine in real life too. KPAC Lalitha is one such actor. In my 44-year-old experience in the film industry, I have seen various actors and am able to see through them. The first actor who impressed me with her honesty would be Sharada and then it has to be KPAC Lalitha. There might be those who disagree with me here. But I think that’s very subjective. You can read about Sharada during the subsequent chapters.
First, let’s come to Lalitha. My first impression of Lalitha is that of a neighbourhood aunt or relative. I don’t think there is another actor who is able to ace such ordinary characters we see in villages like Lalitha. She can do the whole spectrum of emotions—jealousy, sadness, anger and happiness effortlessly. Whenever I see Lalitha, I always feel that she is just behaving in a situation. You don’t see any “acting” there. That’s why I mentioned that she was an actor who didn’t know how to act. It’s an experience she gained from her life on and off the stage. She is truly blessed that way.
KPAC Lalitha made her debut in 1968 in KS Sethumadhavan’s ‘Koottu Kudumbam.’ The waiflike Lalitha mostly got sister roles in her earlier films. It was through Sethumadhavan’s ‘Vazhve Maayam’ and ‘Adimakal’ that she started getting noticed. There was the spontaneity and a flow in her dialogue delivery that was something never seen before in a female actor before.
My first meeting with her is still crystal clear in my mind. In 1973, 48 years ago, her first image was a medium shot, with Jayabharathi. The film was ‘Kaliyugam’ directed by Sethumadhavan starring Sudheer (soon after the death of Sathyan) that was being filmed in front of Aluva Palace. We (me and Sebastian Paul) were there to meet Jayabharathi for Chithra Paurnami magazine. But that day I didn’t really have a chance to meet Lalitha as our attention was on Jayabharathi.
It took four more years for our next meeting. We met at her Kodambakkam house to book her for IV Sasi’s ‘Ee Manohara Theeram.’ I had gone with the film’s producer to book her as Kuthiravattam Pappu’s pair.
It was a small house. And since Production controller Aravindakshan had already notified her about our visit, she welcomed us warmly. I was impressed by her simplicity and felt she would be apt for our character. Though the scripting and dialogues were by Parappuram, I tagged along as I knew the producer and I was also Chithra Paurnami’s film reporter.
After agreeing to an amount, as the producer was about to hand over the signed check, we were unprepared for our next visitor—theatre legend, writer and director Thoppil Basi. And I was a huge fan. Lalitha introduced me to him. I was bowled over by his gentle manner and spoke at length about the women characters in his films.
‘Eee Manohara Theeram’ featured Madhu, Sukumaran, Jayabharathi and Vidhubala and was filmed at Ernakulam. It was during that film location that our friendship began. That was also one reason why I cast her as Cochin Haneefa’s pair in ‘Anubhavangale Nandi’, the first film I scripted. Though Sashi had another actor in mind, I couldn’t think of another actor who had such chameleon abilities. Since I shared a warm bond with Sashi, I had the freedom to tell him anything and if I had my reasons, he wouldn’t let ego come in the way of his decision-making.
‘Anubhavangale Nandi’ was shot at Nilambur forest. Though they were allotted separate rooms, Lalitha would often sleep in Jayabharathi’s room. The pattern was repeated on the sets of ‘Kaliyugam’ as well. There was such a great bond between the two actors.
Coincidentally it was during the sets of ‘Anubhavangale Nandi’ that Lalitha and Bharathan’s romance started. The same goes for Sathar and Jayabharathi. Soon enough Lalitha and Bharathan got married and Lalitha took a break from films to take care of her family. But after a few years, Lalitha restarted her acting career and by the time I was also busy as a scriptwriter.
She did some fine roles in some of the movies I scripted including, ‘Gajakesariyogam’, ‘Koodikazhcha’, ‘Innathe programme,’ ‘Thiruthalvaadhi’, ‘Injakadan Mathai and sons’, ‘King Solomon,’ and ‘Mark Antony.’ She was rollicking fun as the naïve wife of innocent’s mahout in ‘Gajakesariyogam.’ And I thought there was a competition between Janardhanan and Lalitha in ‘Mark Antony’ in which she played a feisty Christian mother.
More than my films, I think Sathyan Anthikad and Bharathan brought out the best in her. No one can forget in a hurry her cameo in Sathyan Anthikad’s ‘Kanal Kaattu.’
The PG Vishwambaran film ‘Gajakesariyogam’, which I had scripted was being filmed at Shornur and she was also simultaneously acting in a Bharathan film which was also at the same location. In ‘Gajakesariyogam’ she had a full-length role. Since Bharathan’s film was getting delayed, her call sheets were getting clashed. Lalitha’s dates that she had allocated for the Bharathan film was also getting over. But a few climax scenes were left. Lalitha told us that Bharathan was wondering if she can make some adjustments for two days and finish his scenes. But PG Vishwambaran refused. Bharathan called me and spoke in his characteristic style— “What cruelty are you saying, Dennis? How can you say that you won't even allow my wife to come to me for two days? If I filed a case, you will be forced to bring Lalitha here. Better ask Vishwambaran to agree.”
I was amused by his humour. Finally, I managed to convince the producer and director and let Lalitha shoot for Bharathan’s film. Lalitha could have made some excuses and finished the scenes, but Lalitha chose to be honest here and I admire her for that.
When I used to tell her that it was after her marriage to Bharathan that her life started looking up and such beautiful characters came her way, Lalitha would have this proud little smile on her face in response. She was a picture of humility then and now.
But Bharathan’s unexpected demise turned her world upside down and she came back to films for her children. Though she suffered the greatest loss in her life, Lalitha managed to sail through with the support and love of her children. And the film industry was always a great source of strength for her.
(This article is the translation of a story published in Manorama Online before the unfortunate demise of the veteran actor)