Quirky is an adjective that encompasses a multitude of traits: originality, unconventionality, and sheer entertainment value. It’s about adding a sly twist to the mundane, making the ordinary extraordinary. Malayalam cinema has had its fair share of such characters—individuals who left an indelible mark, not necessarily for their heroic deeds, but simply for being their wonderful, eccentric selves. Here are our top picks for the most quirky and unforgettable characters in Malayalam cinema this year.
Ranga in Aavesham: Ranga (Fahad Fasil) is a quirky bundle of paradoxes. This pint-size, flamboyant Kannada-speaking gangster, flanked by his entourage of brawny men, can bring the city to a standstill with a mere command. In his part of the world, Ranga evokes unmitigated dread and adulation. But beneath his intimidating exterior lies a complex, multifaceted individual. That he desperately misses his mother is evident in how he is overcome with emotion at the kind, concerning words of an elderly woman. Though the college boys seek Ranga out as a tool for their own plans of vengeance, Ranga is drawn to their camaraderie, revealing a deep-seated loneliness. His display of brotherhood and generosity is endearing to watch. Even with his men, especially Amban, Ranga’s loyalty is unmatched. Yet oddly, he is awkward around women, making him an enigmatic, unreadable character.
The mother in Aavesham: All it took was a soft, concerning voice from the other end of the phone to stop the formidable Don Ranga in his tracks and leave him momentarily speechless and vulnerable. That’s when we see the humanising side of this quirky, maniacal little fellow with an army of hypermasculine brawny men at his beck and call. And blissfully unaware of her calming effect on him was Bibi’s sweet little mother (Neeraja Rajendran) who only wanted to know if her son and his mentor were happy! That’s also pretty much his whole conversation with her— “Son, are you happy?” For Ranga who still misses his mother, this call soon becomes his Achilles heel, highlighting his emotional scars as well as adding depth to him. In hindsight, the “mother” also lives up to the quintessential celluloid mother stereotype, yet she transcends that typecast to bring this strange layer of satire, humour, and poignancy to the narrative. That’s precisely why this character remains so impactful.
Watch a scene from Aavesham:
The mother in Turbo: In retrospect, Turbo Jose’s introduction scene subverts expectations. Given his larger-than-life lore and mean “punches,” you would think he would get a starry, boisterous slow-mo intro as is the norm in such superstar films. But then you see a long shot of Jose cowering alongside his mother Rosa Kutty as she sternly gives him a dressing down, thereby breaking the shackles of alpha masculinity projected in Malayalam cinema till then. Not only does it underline her power, but her character also acts as a lovely irony to Turbo Jose’s towering brute strength. It is through this plain-speaking, belligerent mother that we are uncovering Jose’s vulnerability (the strength of their bond is narrated in a poignant little scene). There are various instances when he is at his wit’s end, having to salvage his “image” under the face of his mother’s assertiveness. But this mother (superb Bindu Panicker) is all guns blazing, with a wicked sense of humour, updated with times with a special fondness for Marvel superheroes. That she effortlessly towers over Jose despite his punches makes her a force to reckon with in Vysakh’s Turbo.
Watch the trailer for Turbo:
Beauty and Sweety in Aavesham: What these unusually cheerful pair of women achieve in Aavesham is a subversion of a celluloid stereotype that’s been rampant for decades. Since time immemorial, sex workers have been depicted as depressed, loud, and obnoxious in films, but Beauty (Pooja Mohanraj) and Sweety (Preeti Baradwaj) instantly break that image. Not only are they not making a big deal out of their profession but also seem to have a keen sense of humour. When Ranga hires them to entertain the three college boys, the narrative avoids inviting pity, treating them with dignity and respect. More importantly, their occupation never defines them, rather they are shown as individuals with agency. They also align with the film’s irreverent tone.
Amban in Aavesham: For every reckless step Rangan takes, Amban is there to ensure that he comes back unscathed in this Jeethu Madhav film. This unassuming, endearing, and earnest accomplice is a perfect foil to Rangan’s flamboyancy, serving as his immunity pin. Rangan is Ying to Amban’s Yang as they form a harmonious whole, with each other’s strengths and compensation for each other’s weaknesses. A few minutes into meeting Amban and you know he would give his arm and leg for his “Rangannan” and that’s no stray promise. The undiluted admiration as he speaks about Rangan’s past, the absolute slavishness with which he towers over the gangster or that heartbreakingly childish pouting he displays are a testament to Amban’s devotion and love. In a world where loyalty is a luxury, who wouldn’t want an Amban (superbly nuanced Sajin Gopu) in their lives?
Aadhi (Premalu): What makes Aadhi so entertaining in Girish AD’s Premalu is his duality, which takes a while to absorb. On the surface, he is a paragon of calmness, efficiency, and righteousness. His whole demeanour exudes confidence and self-assurance, making him an ideal prospective matrimonial profile. And those around him seem to be taken in by this facade. However, it is only when his carefully laid out plans start to unravel that his true colours are revealed, showcasing an entitled, sexist, and aggressive guy who would stop at nothing to salvage his wounded ego. It is this stark contrast between his “projected persona” and his “real self” that adds intrigue to Aadhi (Shyam Mohan). Of course, the dark side is that Aadhi’s persona is all too familiar, reminiscent of people we have met before.
Amal Davis in Premalu: What’s fascinating about Amal Davis’ (Sangeeth Prathap) loyalty to Sachin (Naslen Gafoor) is that he doesn’t wear his devotion on his sleeve. But then we know he would go that extra mile to see a smile on his face. Amal is also Sachin’s biggest reality check as well as a sounding board. He lets him know when he messed up, but would also be there to fix it. When Reenu (Mamita Baiju) rejects Sachin, Amal lets her know that he doesn’t appreciate how bluntly she worded her rejection. What’s fascinating is that he does it all with his trademark wit and irreverence, yet for all his toughness, we are in no doubt that Sachin has a friend for life in Amal Davis.
Watch a scene from Premalu:
Saraswati (Bharathanatyam): Saraswati (Kalaranjini) is a traditional elderly mundum-neriyathum wrapped homemaker calmly running her household efficiently, till she comes face to face with her septuagenarian husband’s (Sai Kumar) infidelity. However, instead of descending into melodrama, her character takes an unexpected and hilarious turn in this Krishnadas Murali directorial. It is almost rousing to witness Saraswati navigating the complexities of her husband’s betrayal with self-deprecatory humour, subtly turning the tables on him. What’s even more remarkable is her touching empathy for the other woman, thereby effectively rendering her husband irrelevant to their narrative.
Watch the trailer for Bharathanatyam:
Neelima Menon has worked in the newspaper industry for more than a decade. She has covered Hindi and Malayalam cinema for The New Indian Express and has worked briefly with Silverscreen.in. She now writes exclusively about Malayalam cinema, contributing to Fullpicture.in and thenewsminute.com. She is known for her detailed and insightful features on misogyny and the lack of representation of women in Malayalam cinema.
Views expressed are the author’s own.