Remembering MT: The unparalleled talent behind Malayalam cinema's most revolutionary experiment

M T Vasudevan Nair directed only a handful of films, including 'Nirmalyam,' 'Kadav,' 'Oru Cherupunchiri,' 'Manju', 'Bandhanam,' and 'Varikkuzhi.' 'Nirmalyam,' his debut directorial venture, was completed under severe financial constraints. MT himself took on the role of producer for the film, relying heavily on the support of his friends and facing numerous challenges throughout its production. The movie was shot in Kudalloor, his native village, where the cast and crew were accommodated in local houses. And at times, it was the families in the village which generously provided food for the set.

When the film stock ran out during production, MT borrowed two reels of film from the set of a friend’s movie to continue shooting. Despite these hardships, he crafted 'Nirmalyam' with such finesse that none of these shortcomings are visible on screen. The film then went on to win the National Award.

In 'Kadav,' based on a story by S K Pottekkatt, even the river and the country boat are transformed into characters, embodying the soul of the narrative. Another notable work, 'Oru Cherupunchiri, 'documents the life of an elderly couple, capturing their subtle emotions and changing circumstances.
However, MT has openly admitted that films like 'Bandhanam' and 'Manju' did not fully reflect his creative prowess. On the other hand, 'Nirmalyam' is celebrated as one of the most experimental films ever made in Malayalam cinema. Its bold and thought-provoking climax remains unparalleled, a feat few would dare to imagine, let alone execute.
From screenwriter to novelist, storyteller, and literary editor, MT excelled in every field he ventured into. 'Nirmalyam' stands as a shining example of his multifaceted talent. Despite his personal reservations about directing films, MT’s remarkable skills in storytelling and screenplay elevated him to great heights.

MT’s arrival in the Malayalam film industry marked a turning point for screenwriters, who began receiving recognition akin to that of directors and producers. His name started appearing prominently on title cards and posters, alongside directors, reflecting his stature. He also set a precedent for screenwriters to receive significant remuneration, elevating their position in the industry.
While MT made his mark as a director, his most significant contributions to Malayalam cinema came as a screenwriter. His screenplays brought a unique depth and layered storytelling to films while balancing entertainment and commercial success. Directors like Hariharan and IV Sasi, previously trapped in the confines of commercial formula flicks, found a middle ground through MT’s screenplays.

While making this statement, what immediately comes to one's mind are the classics such as 'Vaishali,' 'Perumthachan,' 'Oru Vadakkan Veeragatha,' 'Panchagni,' 'Sukrutham,' 'Aksharangal,' 'Sadayam,' 'Aranyakam,' 'Alkootathil Thaniye,' 'Aroodam,' 'Nirmalyam,' and 'Amritham Gamaya.' These movies, regarded as timeless masterpieces, delve into the complexities of life, offering profound insights while captivating audiences with their artistry.

The Beauty of silence
In the early days of film making, the role of a screenplay writer was straightforward: to narrate the story while adhering to the classic structure of a beginning, middle, and end, and to craft dialogues that suited the characters. However, M T Vasudevan Nair redefined this approach, transforming screenwriting into a nuanced art form. His narratives infused each scene and the overall story with remarkable depth and dimension.

Unlike his predecessors, who relied heavily on dialogues to move the story forward, M.T. emphasised the power of visual storytelling. He skillfully wove the narrative through a series of visual cues, reserving dialogues for moments where they were truly indispensable.

MT's dialogues, when they appeared, were like the tip of a finely sharpened pencil, precise and impactful. Each word carried sharp meaning, resonating deeply with the audience. His minimalist approach to dialogue, where he said only what was necessary and left much unsaid, created layers of meaning. This ability to convey more by saying less became one of his signature strengths.

At times, MT's dialogues even operated on two levels, targeting multiple meanings simultaneously. This dual-layered brilliance added richness to his scripts, leaving viewers with profound moments to ponder long after the film ended.

In the movie 'Rithubhedam,' Geetha’s character delivers a line that lingers long after the scene ends. After thwarting the Adhikari's attempt to abuse her in a dark room, she sends him away in the night with her younger brother carrying a torch. Her words; “Kutta, show Adhikari the way, the right way!”, carry a profound duality, both literal and moral. This moment captures M T Vasudevan Nair’s unparalleled ability to wield silence as a narrative tool.

MT was the first screenplay writer to truly explore the beauty of silence in his craft. His remarkable skill lay in weaving narratives where unspoken words and pauses spoke volumes. These “talkative gaps” of silence gave his screenplays a depth that transcended the spoken word, allowing audiences to feel the unarticulated emotions and tensions.

Writings with a personal essence
Critics have occasionally argued that MT’s stories repeat similar settings, characters, and dialogue styles. However, a closer analysis reveals the futility of such claims. It is natural for a writer to ground their narratives in familiar landscapes, shaping the plot, characters, and dialogues accordingly. In 'Valluvanadan' settings, the recurring presence of oppols (older sisters), edathis (female cousins), Karanavar (patriarch), Karysthan (stewards), and muthassis (grandmothers) reflects the cultural fabric of the region. These elements, along with the language and customs, naturally become a part of the narrative’s texture.

The same can be said for stories set in any region. A collection of 100 stories set in Thrissur, for example, would inherently reflect the region’s language, culture, and nuances. The critical question, however, is not about these surface elements but about the substance beneath them. What matters is the issue the screenplay writer seeks to convey, the originality of the narrative, and the effort to communicate profound themes. When viewed through this lens, MT’s body of work stands apart. Each film, from 'Nirmalyam' to 'Neelathamara,' and 'Sadayam,' explores distinct themes and ideas.

MT is a filmmaker who refuses to imitate or repeat himself. His films do not overlap in their core issues or thematic explorations. Instead, they offer fresh perspectives and unique narratives. Now, let’s examine the two movies, Sukrutham and Aksharam, which have often been discussed as deeply personal works of M.T. Vasudevan Nair. Each film reflects distinct layers of his personal essence, yet their stories and concepts are vastly different.

'Sukrutham' presents the poignant journey of Ravishankar, who, upon realizing the betrayals and commercialism surrounding him ---even from his own workplace and life partner, chooses to embrace death with love. The film delves into the harsh truth that relationships can often seem like a myth when life becomes more unbearable than death, shaped by the self-centered perspectives of individuals.

Ravi is not inherently devoid of the will to live. On the contrary, he fights desperately to survive. However, his realisation that words like “life,” “relationship,” “love,” and “humanity” are often mere facades worn for convenience leads him to find solace in the idea of death.

In the movie 'Aksarangal,' the story centers on the poignant tragedy of a creative artist who remains unrecognised at the level he truly deserves. The protagonist, a hypersensitive writer, yearns deeply for care, acknowledgment, and love. However, his life partner, unable to understand or fulfill these needs, leaves him to gradually find solace in another woman who comes to his aid.

This woman becomes his pillar of strength, offering unwavering support without expecting anything in return. Their relationship is founded on pure, innocent love. Tragically, when the writer's untimely death occurs, she is denied the chance to see his body one last time.
What she receives, instead, are the flowers scattered beside his body, arranged in the same shape and size. The film ends with her gently touching those flowers, perhaps symbolising an unspoken fulfillment, her life and theirs, in some way, reaching completion through that touch.

'Aksharam' and 'Sukrutham' are two distinct films, each exploring different layers in terms of narrative, story, and situations. Yet, they both deeply examine the nuances of the human mind and the complexity of human situations. For those familiar with MT's personal life, subtle elements of his own experiences can be found woven into both stories.

The Structure of Screenplay
M T Vasudevan Nair approached screenplay writing with a clear conviction about why and how a theme should be narrated, and the tools necessary to do so effectively. He crafted stories through crisp, tightly woven scenes that unfold naturally and beautifully, much like a flower blooming. His ability to understand how each scene contributes to the overall narrative made his work stand out.

Every scene in M.T.'s screenplays has a distinct beginning, middle, and end. The discipline and patience he demonstrated in developing a screenplay, ensuring not a single scene or word felt out of place, was remarkable. In an interview, M.T. revealed that the screenplay for 'Oru Vadakkan Veeragadha' underwent 30 revisions before reaching its final form. His meticulous care in writing screenplays, akin to his approach to literature, elevated him to the status of a peerless screenplay writer.

While narrating stories through flashbacks wasn’t new to Indian cinema, MT took the craft to new heights. For example, the story of 'Aksharangal,' released over three decades ago, unfolds through the perspectives of different characters, adding depth and nuance to the narrative. This demonstrates his ability to experiment with different styles of storytelling. Similarly, the movie 'Ennu Swantham Janakikutty,' told from a first-person perspective, is another example of his innovative approach to screenplay writing.

Thematic Differences
The primary goal of a movie is to narrate a compelling story. For this, the duty of a screenplay writer is to structure the narrative coherently, dividing it into scenes that evolve seamlessly from beginning to end while keeping the audience engaged. However, for a writer aiming to craft a timeless masterpiece, the process is far more intricate. It demands deep introspection about the universal relevance of the theme and its potential resonance across time.
Such a writer must engage in self-analysis, questioning the layers of human experience or societal truths the story seeks to uncover. They must also evaluate whether the theme aligns with their creative purpose. The answers to these questions, guided by their inner conscience, become the foundation for the story.
MT’s screenwriting stands apart because of how he approached age-old narratives. Let’s consider the stories he crafted based on folklore and mythology. Before MT, most writers adapted these tales by merely retelling them with minor tweaks to suit cinematic storytelling. While this sufficed for conventional screenplays, MT took an entirely different path. He developed his own interpretations of the core message and narrated them in a way that resonated with audiences across diverse levels of understanding. This innovative approach was nothing short of a revolution in Indian cinema.

Take, for instance, 'Oru Vadakkan Veeragatha.' This film delves into the relativity of perspectives, offering a fresh take on the folklore of Chanthu. Traditionally portrayed as a symbol of betrayal, Chanthu is reimagined here as a figure of virtue, suffering, and martyrdom. The movie challenges the audience’s preconceived notions by showing that the truth behind any event depends on how it is perceived.

When it comes to people and political ideologies, discerning truth from untruth can be a complex task. A closer analysis often reveals that there may be multiple perspectives, each holding its own version of the truth. MT Vasudevan Nair has achieved unparalleled success in articulating his viewpoint, presenting logical and compelling reasoning to support his narratives.

'Oru Vadakkan Veeragatha' is far more than just the story of Chanthu. While it is built upon the foundation of folklore and myths, the film transcends its immediate narrative. Fundamentally, it is a profound exploration of the human condition, portraying universal themes that resonate beyond the confines of any single character or story.
There is often a hidden goodness within what we perceive as badness, or indirect reasons that shape events into unexpected situations. MT Vasudevan Nair delves deeply into these divergences and contradictions, unravelling them with precision to help the audience grasp the intricate layers of truth.

The standout feature of his screenplay lies in its narrative style, which balances remarkable sharpness with disciplined storytelling.

Lyrical stories on screen
MT Vasudevan Nair often infused his screenplays with the essence of short stories. This wasn’t a mere stylistic choice or limitation; it was a deliberate technique to explore how the nuances of one art form could enrich another. His approach allowed cinema to draw from the intimacy and precision of literature while retaining its visual and emotional appeal.

Take, for instance, the film Oppol. It stands as a testament to the creative brilliance of screenplay writing. The story revolves around a seemingly simple family: a mother, her daughter Maalu, and a young boy, Appu, who addresses Maalu as 'Oppol' (meaning sister). From the outset, MT masterfully withholds any direct hints about their true relationship, allowing the audience to assume that Appu is perhaps a late-born child of Maalu’s mother.

Maalu’s deep bond with Appu leads her to reject several marriage proposals. However, the story takes a poignant turn when Maalu marries Govindankutty, a widowed soldier, and leaves Appu behind. Devastated, Appu insists on being taken to her new home, causing friction between Maalu and her husband. When Govindankutty demands an explanation, Maalu reveals the truth: Appu is her son, a revelation that shocks both Govindankutty and Appu alike.

The climax delivers the emotional punch typical of a short story, but its narrative unfolds through the expansive medium of film. MT’s storytelling achieves a seamless blend of brevity and depth, engaging viewers while maintaining a lyrical quality.

The essence of screenwriting
MT once remarked, “A film needs a story. The story may have a start, middle, and end. It may span generations or capture a single moment—a fleeting particle on the wings of time or the sunlight adding color to a spider’s web. Even something so delicate qualifies as a story. When told using the tools of the medium, it becomes a screenplay.”
This philosophy underscores his mastery of the medium. Where others stumbled, MT excelled by understanding cinema’s unique language and using it to its fullest potential. He elaborated further, “Visible and tangible movements, invisible yet communicable psychological movements, words, sound, silence, music, and deliberate gaps allowing the audience to make their own creations in their mind—these are the tools a screenplay writer uses to bring a story to life on screen.”

Oppol: A model of screenplay excellence

'Oppol' is a shining example of MT’s approach to screenwriting. The delicate theme, which could have been a short story, is instead woven into a two-and-a-half-hour film. Through numerous carefully crafted scenes, MT keeps the audience captivated, balancing simplicity with profound emotional depth. His ability to handle such themes with the natural grace of a blooming flower makes him a subject of endless fascination for film students and enthusiasts alike.

'Neelathamara' stands as a remarkable achievement in screenplay writing, occupying a higher pedestal due to its profound thematic depth. Although set in an era of feudalism, the film subtly addresses issues that remain relevant even in contemporary society. It explores the complex dynamics between master and servant, focusing on the contradictions inherent in such a relationship. At the heart of the film is the story of a young maid who mistakes a fleeting infatuation from a boy of a wealthy family for true love. When she realizes that his feelings are merely temporary, she retreats, only to find herself abandoned in a society where love and loyalty are dictated by class distinctions.
When she leaves the house after severing all ties, her cousin, who is meant to be her future husband according to custom, comes to claim her. In a telling moment, Haridasan sarcastically comments on his job, asking if he wasn’t going to work anymore. The maid’s response, “After all, someone should be there to do the dirty work,” speaks volumes about the entrenched social hierarchy.

The screenplay is filled with moments that echo the subtleties of human experience. For instance, when the maid leaves the house, her bandakettu (a cloth bundle she carried when she arrived) is noticeably absent. When Appukuttan asks about it, the absence holds profound meaning, adding depth to the situation.

Another poignant moment comes when Haridasan marries another girl, breaking the heart of Kunjimaalu, the maid, who silently endures her pain. In a conversation with the new bride, Retnam, Kunjimaalu offers subtle advice: "Close the window when you go to sleep. The cat in the neighborhood always sneaks in through it." She continues, “Be careful when you climb the stairs with the tumbler. The third step shakes a lot.” These seemingly insignificant remarks carry weight, revealing Kunjimaalu’s deep understanding of the household's nuances. While Retnam may interpret them as mere advice, the audience recognizes them as quiet expressions of Kunjimaalu's pain and the depth of her lived experience.

MT’s brilliance lies in his ability to imbue even the simplest dialogue with layers of meaning. In the film’s climax, when Kunjimaalu and Appukuttan are leaving the village, another man and woman are entering. This parallel highlights the tragic reality that a woman’s pride, dreams, and dignity are often trampled upon by the rich and powerful, leaving her dreams unfulfilled and unnoticed.
The integration of the myth of Neelathamara into the film is another example of MT’s skill in blending storytelling and cinematic technique. The screenplay, much like a short play, maintains simplicity, focus, and lyricism while expertly utilizing the medium of cinema to tell a story that resonates deeply with its audience.

Technicalities hidden in words
MT’s screenplays subtly incorporate technical elements such as camera movements, angles, music, natural sounds, and visuals, seamlessly blending them into the narrative. These aspects are expertly woven into the fabric of the screenplay, ensuring they don’t interfere with the literary flow for readers who approach the text with a literary sensibility.
In storytelling through film, a writer must adhere to the technical aspects and grammar of the medium. However, this must be done in a way that preserves the artistry and beauty of the work. Achieving this balance is delicate, as the screenplay must maintain its identity as a standalone piece, even after the film is produced.
Take, for instance, the opening of Oppol. The screenplay begins with: “An expansive, green mountainside. A vast expanse of greenery. A moving spot. As we move in closer, that moving spot is a five-year-old boy.” MT masterfully employs visual techniques like long shots, mid shots, and close-ups, all without explicitly stating them. The scene naturally unfolds with these cinematic possibilities, inviting the audience to experience the visuals without overtly drawing attention to the technical choices. This subtle approach highlights MT’s mastery of the medium, where technical elements enhance the story while remaining invisible, enriching the viewer’s experience.

Screenplays with literary quality
MT’s best screenplays can be considered great literary works in their own right. This quality is seen in many renowned works of global cinema, such as Last Year at Marienbad. The screenplays of directors like Fellini, Antonioni, Grillet, and Godard also read as exceptional literary pieces. Furthermore, figures like Arthur Miller and Elia Kazan created a new genre, the “visual novel,” bridging the gap between screenplay and novel.
Though cinema is, at its core, the art of the director, talented screenwriters with a literary sensibility can elevate a film to the level of profound literature. MT is undoubtedly at the forefront of this in Malayalam cinema, alongside other notable figures like Padmarajan. One of the key aspects of MT’s work is the synergy between cinema and literature. Many of his famous films, such as Iruttinte Athmavu and Kutteyatti, are adaptations of his own short stories. However, he masterfully transforms these works, ensuring that the films stand as independent creative pieces, distinct from their literary origins.These films are perfect examples of how an idea can evolve when expressed through two different mediums. MT's ability to repeat this magic is evident in films like Ennu Swantham Janakikutty and Ninte Ormaykku. Yet, what truly propelled his work to remarkable heights were the films that were born from original ideas, not dependent on his literary works. Films like Vaishali, Panchagni, Perumthachan, and Oru Vadakkan Veeragadha exemplify the extraordinary depths MT reached with original storytelling, cementing his place as a pioneer in screenplay literature.

Humanity-laden themes
Humanity lies at the heart of MT’s screenplays. Each of his works is a profound exploration of humanity from diverse perspectives. Take Oppol, for example. Maalu’s intense emotional bond with her son persists even after she has found a peaceful, secure life. Her husband, the soldier, initially fails to understand this bond. The film concludes with him walking away, carrying the child she bore outside their marriage, a poignant symbol of his eventual understanding of her love and sacrifice.
The way MT subtly weaves this humanity beneath the surface of his characters, without resorting to overt exhibitionism, is a narrative technique worth studying. In Neelathamara, the cousin whom the heroine has long ignored and belittled comes to her aid at the end. The film closes by hinting at how, even in the most desperate circumstances, traces of humanity endure.

'Aranyakam' explores the delicate facets of the human mind, emphasizing the profound depth of humanity. The film follows the journey of a girl who, despite having suffered the loss of her lover—killed either by an extremist’s hand or in a tragic accident—finds the compassion to forgive the perpetrator. She also attempts to save the man, who has been fatally injured during a police firing, trying to restore his life. The title itself, 'Aranyakam,' suggests the complexity and diversity of the human mind, much like a forest that houses everything from dangerous wildlife to harmless organisms, medicinal plants, and towering trees. This way, the writer illustrates the significance of humanity, attempting to discern goodness amid the depths of human experience.

Exploring humanity
'Panchagni' explores the vision of revolution through a powerful lens. It reveals that armed revolt is not driven solely by ideology; instead, real revolution stems from a natural, humanitarian response to the suffering of others. The film’s soul is captured in a dialogue between the heroine, Indira, and her fiancé, Rasheed: “Rasheed, I can never run away from myself.” The word “myself” carries multiple meanings throughout the narrative.
When Indira visits her friend’s house to share news of her marriage, she is shocked to find her friend’s husband and others in the act of raping a maid, leaving her near death. Indira’s reaction is decisive: she guns down her friend’s husband with a rifle intended for hunting. This act of vengeance is not driven by personal grudges, but by a deep sense of humanity. In that moment, Indira’s concern for a fellow human being outweighs her own future, her marriage, and her personal life. The film makes the bold statement that, in the end, even armed revolution serves as a tool for fulfilling a humanitarian mission.
As the film progresses, Indira’s comrades, who once embraced Naxalism, turn toward spirituality and the influence of God-men. Indira, however, chooses to leave her ideologies behind and seeks refuge in the institution of family. Yet, what ultimately keeps her from leaving her values behind is her unshakeable sense of humanity.

'Nakshathrangal,' often perceived as a simple love story, actually delves into the complexities of the human mind, driven by themes of indebtedness, gratitude, and kindness. The narrative revolves around a girl who works as a maid in a wealthy family and becomes instrumental in helping the hero, a poor boy, secure a job at the same household. Through her kindness, he gains not only employment but also an opportunity for a better life. The family’s lawyer, recognizing the boy’s academic brilliance, arranges for him to study law. Meanwhile, the lawyer’s deaf and dumb daughter finds happiness in his presence, and the lawyer believes the boy is her salvation. However, the boy finds himself in a dilemma: he has promised a life to the maid girl, but now, caught between two worlds, he flees, leaving behind only a letter.
This dilemma illustrates the struggle between selfishness and humanity. The boy could have chosen a stable life with the lawyer’s family, leaving the maid behind, but his sense of humanity holds him back. At the same time, his decision weighs heavily on him, as he feels indebted to the lawyer, which ultimately leads to his escape.

'Sukrutham' is another poignant exploration of humanity, examining its many facets. The story follows Ravishankar, a man who is sick and dependent on others. People around him feign sympathy, believing he will never recover. However, when Ravishankar makes a miraculous recovery through alternative treatment, those who once sympathized with him now view him as a burden. Their lives had already moved on without him, and his return disrupts their plans. In the end, Ravishankar walks into the darkness of a railway tunnel, searching for death, disillusioned by the realization that the relationships, love, and humanity he once cherished were, in truth, illusory.

The film also portrays how humanity can be interpreted in different ways. Ravi’s friend and disciple, who pretends to offer unwavering love and support, is secretly waiting for Ravishankar’s death so he can claim Ravi’s wife as his own. Sukrutham shows the duality of humanity --its external appearance and internal motivations--through the complex minds of its characters.

New takes on Epics
MT’s Perumthachan offers a compelling exploration of what modern psychiatry might term the "Perumthachan Complex," a reflection of jealousy, intense intolerance, ego, and the complex emotional landscape inherent in the human mind. It delves into the extreme psychological state where one can feel jealousy even toward one’s own flesh and blood, leading to enmity. However, MT adds another layer to this. Perumthachan, in a moment of deep belief and emotional turmoil, kills his son, who was poised to challenge a power structure that Perumthachan revered, respected, and felt indebted to. The screenplay never explicitly presents this act as deliberate. In a poignant scene, a sharp tool slips from his hand, falling on his son, who is conversing with the daughter of the ruler.

At its core, the film explores the powerful emotions of indebtedness and gratitude—feelings born of a deeply humane mind. Perumthachan’s inability to forgive his son, who rejects these traditional values, mirrors the psychological complexity of that era. MT captures the nuance of these emotions without over-explaining, allowing the audience to empathize with a character driven by deeply ingrained psychological and cultural codes.
Another underappreciated work of MT, Amrutham Gamaya, portrays a poignant story of guilt, redemption, and the humane impulse to right a wrong. A teenager, the sole hope of his family, is accidentally killed in a hazing ritual by his seniors. The senior responsible, wracked with guilt, decides to anonymously help the grieving family, working to improve their lives without revealing his identity. This act of contrition and silent support embodies the great virtue of humanity. Rather than bottling up his guilt, the character takes action, illustrating the profound moral power of repentance and responsibility.
In Vaishali, MT masterfully critiques the degradation of a power system that has lost its humanity. The film tells the story of Vaishali and her mother, who risk their lives to bring rain to a kingdom, only to be ignored by the very king who had promised to recognize them. As the king backtracks on his promise and marries the princess Vaishali loves, the film powerfully portrays the devastating consequences of abandoning human decency. The climactic scene, where Vaishali is trampled by a mob, starkly symbolizes the brutal dehumanization that occurs when power becomes detached from compassion.
'Nirmalyam' presents another gripping portrayal of human emotion, but this time through the lens of faith and disillusionment. The priest, a lifelong servant of the Goddess, spits in her direction—not from a lack of belief, but from a deep, painful disillusionment. Having served her faithfully, he feels abandoned at critical points in his life. This emotional turmoil, the feeling that the Goddess failed to show him the humanity he expected, drives him to this profound act. His reaction, born of intense pain and betrayal, is a tragic commentary on the fragile relationship between faith and human experience.

Timeless works
A piece of art should be able to represent an internal truth. A story is merely a tool for expressing that truth. What matters is the internal truth itself. MT is careful to place that vision at the center of his screenplay, ensuring that the audience—who might otherwise struggle with such weighty thoughts—can engage with the cinema without losing track of the story. He achieves this by presenting the narrative in a simple, accessible style, never compromising on the enjoyment factor. Movies like Vaishali, Vadakkan Veeragadha, Aaranyakam, and Panchagni best exemplify this approach.
'Panchagni' successfully portrays a great and popular idea. MT creates a significant focal point for the story, whether it’s Panchagni, set against a political backdrop, 'Vaishali,' based on myth, or 'Vadakkan Veeragadha,' rooted in vadakkanpattu.

Individuals we perceive as evil also possess elements of goodness. In other words, various factors lead them to situations we may perceive as evil. In short, there is evil within good and goodness within evil. Nothing is ever complete. Right and wrong, good and evil—these are all subjective. Screenplays that analyze such human situations and emotions subtly can rightfully claim the virtues of literature. MT’s screenplays expose never-before-seen facets of life and human experiences.
MT’s screenplays can be seen as a continuation of his literary works. Through films like Vadakkan Veeragadha, Vaishali, and Perumthachan, he communicates the same viewpoint and fundamental ideas that he explored in his novel Randaamoozham. All of these works address human dilemmas, which were not fully recognized at the time.
'Aalkkoottathil Thaniye' tells the story of an elderly father awaiting his death. With his extraordinary knowledge of literature and cinema, MT elevates a theme that could easily have become a peripheral tale about old age into something much deeper.
The character of Ammukutty, who dedicates her life to caring for her elderly father, subtly reflects people who have not lost their humanity. MT’s film universe encompasses around 60 screenplays, each contributing qualitatively to the history of Malayalam cinema. Notable examples include 'Kuttyettathi,' 'Aaroodam,' 'Nagarame Nanni,' 'Olavum Theeravum,' 'Parinayam,' and many others. Each of these screenplays made a memorable contribution to the growth and development of Malayalam cinema across different eras.
The originality of a writer’s idea, regardless of the medium through which the story is told, is essential. How artfully and beautifully it is narrated, whether the writer lends depth to it, and if the work is elevated to provide a unique experience—these factors define the quality of a screenplay. When examined through these lenses, it can be confidently said that MT’s screenplays exhibit exemplary literary values, putting them on par with his literary works.
One example is enough to understand MT’s exceptional talent in the art of filmmaking. Thrillers in Malayalam cinema used to follow the low-grade, formulaic treatment typical of commercial films. MT, however, through his film Utharam, showed how a movie in this genre could be elevated to a class of its own. Will there ever be another MT?!