![]() ![]() Meanwhile, Mammootty’s SP Haridas Damodaran in Ee Thanutha Veluppan Kalathu (1990), penned by P Padmarajan and helmed by Joshiy, was one of the last subdued alpha police characters in Malayalam cinema, before screenwriter Renji Panicker entered the scene, solidifying the Balram archetype. While Shaji Kailas’ The Truth (1998) fell into the Swamy category, K Madhu’s The Godman (1999) and Vinayan’s Rakshasa Rajavu followed the Renji Panicker style. However, this shift also led to the emergence of a different kind of unexciting police character, where their major attribute was their sharpness, lacking any emotional depth. In fact, Swamy’s arrival brought about a significant change in how police characters are portrayed, emphasising their roles and professional skills, thanks to his extensive knowledge in the field. While Perumal displayed more heroism than Sethurama Iyer, writer SN Swamy, who penned this movie too, made sure that the character didn’t conform to the typical police character stereotype. Consequently, Sethurama Iyer set an exceptionally high standard for future investigator characters. ![]() Oru CBI Diary Kurippu and the two subsequent films in the CBI franchise, with scriptwriter SN Swamy’s meticulous attention to crime investigation details, demonstrated the potential of investigative thrillers when they prioritise accuracy in the probe process.ĭespite being the central character, Sethurama Iyer never sought to upstage the core elements of the story, investigation, and suspense. On the other hand, his Perumal, a DSP of CB-CID, in Sibi Malayil’s August 1, also stood out. Though Sethurama Iyer was not technically a cop, his character shattered prevailing stereotypes surrounding police figures, emphasising their intellect and investigative prowess rather than relying on the traditional ultra-masculine traits used to overpower wrongdoers. ![]() His Sethurama Iyer, a CBI officer in K Madhu’s Oru CBI Diary Kurippu, was unlike any crime investigator seen in Indian cinema up to that point. In 1988, Mammootty redefined the portrayal of investigators through two remarkably distinct characters. Must read | Kunchacko Boban says Chaaver is very close to his heart: ‘A truly distinctive film, unlike any I have undertaken thus far’ Era of Sethurama Iyer These portrayals also mirrored the zeitgeist of that era when morally questionable characters, including underworld figures, were being depicted as protagonists, especially because movies had become increasingly commercial and lucrative, particularly when they could deliver an intense adrenaline rush to (male) audiences. This had an influence on subsequent films as well, including Aavanazhi’s sequel Inspector Balram (1991) and several Suresh Gopi cop films, which elevated him to the position of a superstar, such as Ekalavyan (1993), Commissioner (1994), The King (1995), Janathipathyam (1997) and FIR (1999). ![]() Referred to as Karadi (bear) by his colleagues, Balram is a ruthless and relentless police officer who is willing to do whatever it takes to apprehend criminals, even willing to employ extreme measures.Īn epitome of toxic masculinity, who manages to evade consequences for his cruelties due to the significant personal setbacks he’s faced and because he’s a sharp officer, the character Balram established a new archetype for police characters, often depicting them as wounded lions, but problematic to the very core. The landscape, however, changed in 1986 with the release of IV Sasi’s Aavanazhi, where Mammootty’s CI Balram received widespread acclaim and developed a devoted fan base. Although he portrayed police characters in subsequent films such as Idavelakku Sesham (1984), Parayanumvayya Parayathirikkanumvayya (1985), Aalorungi Arangorungi (1986) and Nandi Veendum Varika (1986), none of these characters represented a departure from the roles he had been playing, especially since most of the films of that era were mere dramas. ![]()
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