Highlights:
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Malayalam actor, writer and filmmaker Sreenivasan died in Kochi at the age of 69
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Hospital authorities said Sreenivasan died following breathing complications during treatment
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Sreenivasan was known for shaping Malayalam cinema through satire, realism and political commentary
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His screenplays and performances influenced public debate in Kerala for decades
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Tributes described Sreenivasan as a filmmaker who brought ordinary life to the screen without exaggeration
Malayalam actor, writer and veteran filmmaker Sreenivasan has died in Kochi at the age of 69, bringing to an end a career that reshaped how Malayalam cinema engaged with society, politics and everyday life. Hospital officials confirmed that Sreenivasan developed breathing complications while being taken for dialysis on Saturday morning and died around 8.30 am at the Government Taluk Hospital in Tripunithura.
The death of Sreenivasan has left the Malayalam film industry and the wider public in Kerala reflecting on the loss of a creative voice that consistently questioned power, class and social habits through humour and understatement. For decades, Sreenivasan’s work as a writer and performer blurred the line between entertainment and public conversation, often using comedy to address issues that newspapers and political speeches struggled to reach.
How Sreenivasan shaped Malayalam cinema through writing and acting
Born on 6 April 1956 in Pattiam, Kannur, Sreenivasan studied economics before moving to Chennai to pursue film studies. His entry into cinema came in 1976 with PA Backer’s Manimuzhakkam. From that point on, his involvement in Malayalam cinema rarely paused. He worked as a writer, actor, director and, at times, producer, becoming a constant presence across several phases of the industry’s evolution.
By the mid-1980s, Sreenivasan had emerged as a key figure in screenplay writing. Odaruthammava Aalariyam (1984) marked the beginning of a sustained period in which his scripts became known for sharp observation and political clarity. This phase included films such as Sandesam and Thalayana Manthram, as well as long-running collaborations with directors Priyadarshan and Sathyan Anthikkad. Lines from Sreenivasan’s scripts entered everyday conversation in Kerala and were often used as shorthand in political discussion, a measure of how deeply his work resonated beyond cinema halls.
As an actor, Sreenivasan rejected the conventions of heroic image-building. He often appeared as an ordinary man, sometimes awkward, sometimes insecure, and rarely idealised. In Vadakkunokkiyanthram, he portrayed insecurity and jealousy with restraint, allowing comedy and discomfort to coexist. In Ponmuttayidunna Thaaravu, he played a man navigating betrayal, while Kadha Parayumbol cast him as a barber whose quiet friendship with a film star became the emotional core of the story.
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Why Sreenivasan remained relevant for decades
The continued relevance of Sreenivasan lay in his ability to adapt without abandoning his core approach. He appeared in later films such as Passenger and Kerala Cafe, demonstrating an awareness of changing narrative styles. He also took on roles that leaned into satire and moral ambiguity, including parts in Kilichundan Mambazham and Kaalapani. Even brief appearances, such as his role as a comrade doctor in Sakhavu, were noted for their impact.
Throughout much of Sreenivasan’s career, Malayalam cinema operated with limited budgets, placing emphasis on story rather than spectacle. His screenplays reflected this reality. Humour was often used as an entry point, but the underlying intent was social critique. Sandesam, frequently referenced in political discussions even today, used satire to comment on party loyalty and ideological rigidity without resorting to caricature.
Sreenivasan directed only two films. Vadakkunokkiyanthram won a Kerala State Award, while Chinthavishtayaya Shyamala received a National Award for its treatment of social issues. Both films centred on familiar domestic settings and everyday conflicts rather than dramatic arcs, reinforcing his belief that ordinary lives were worthy of serious attention.
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What the film industry said after Sreenivasan’s death
Sreenivasan had undergone heart surgery in 2022 and had been dealing with ongoing health issues. Friends and colleagues noted that while his physical health declined, his clarity of thought remained. Director Sathyan Anthikkad said he had spoken to Sreenivasan as recently as Thursday and described a man who remained mentally sharp despite prolonged illness.
Following his death, the body was moved from the hospital to his residence and will be placed at Ernakulam Town Hall to allow the public to pay their respects. Cremation is scheduled to take place at his home. Sreenivasan is survived by his wife, Vimala, and sons Vineeth and Dhyan, both of whom are actors.
Kerala Chief Minister Pinarayi Vijayan described the death of Sreenivasan as an “irreparable loss”, noting that his work used humour to communicate social truths. Tributes from across the political and cultural spectrum echoed the same sentiment. Sreenivasan rarely projected himself as a towering figure, but his contribution to Malayalam cinema continues to stand as a record of how storytelling can shape public thought without spectacle or excess.
For many in Kerala, the death of Sreenivasan is not just the loss of a filmmaker, but the loss of a steady, questioning voice that held a mirror to society for nearly five decades.
