Asked about his character selection criteria, Manoj says that he has always tried to break free of clichés.
I’d say Vineeth is the Ramu Karyat of the current times,” he laughs. Whereas Hariharan sir used to sport white and white, Vineeth wears a T-shirt and lungi. Movie making is the same process it’s just that their attires are different. “The working style is different for any director, so there is no basis in classifying films as old generation or new generation. sir is someone who ensures that you know the whole script very well, Adoor sir doesn’t want any rehearsals and so, you get the script only during the take.”Ĭall Manoj an actor for all ages he is quite at ease while working with both masters and new-generation film-makers like Alphonse Puthren, Vineeth Sreenivasan and Rishi Sivakumar. Each one is a different school of learning - for Bharatettan, its perfection for Hariharan, its strictness,” he recalls, adding, “While M.T. “Directors like them make you do it and bring out your best. Asked about his flawless performances as the Kuttan Thampuran of Sargam, Anto of Chamayam or Kunjunni Namboothiri of Parinayam, Manoj says it’s not his talent, but the director’s vision that made all those roles memorable. Vasudevan Nair, Hariharan, Bharathan and years later, with Adoor - all of those, his best ones.
Right from the beginning, he has been lucky enough to associate with legends like M.T. “My focus is always on the identity of the character and the mark it leaves behind,” he says. That’s because screen time has never been a criteria for him. “I have never tried to market myself or considered myself to be an aggressive actor, but I have put my heart and soul into everything I have done so far,” begins Manoj, who has mesmerised Malayalis with his legendary acts from the 1988 movie Mamalakalkkappurathu to the just-released Solo and Tharangam. From full-length roles to cameos, he has played his part very well. The actor, who will complete 30 years in the film industry next year, looks back with pride at having given his cent per cent to all his attempts. A ruthless cop, a struggling layman, a fierce warrior, a fearless rebel, an immature adult, an evil black magician, a brainless goon, devilish gangster or an egoistic singer - name it, this man has done it all, with such ease and precision. Jayan has acquired the mythical power of parakaya pravesha – of leaving one’s body and entering another. A rough scan through the characters he has played, one can’t help, but think if Manoj K.
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