Once celebrated as the ‘Janapriya Nayakan’ of Malayalam cinema, Dileep is now accused of orchestrating one of the most shocking crimes in the industry’s history — the 2017 abduction and sexual assault of a fellow actor. Even as the case proceeds legally, Dileep appears to be waging a parallel war: a media-driven campaign to rehabilitate his image. Through friendly interviews and tightly controlled coverage, the actor seems to be scripting a comeback — not through the courts, but through the court of public opinion.
A striking example of this PR offensive is a recent 93-minute interview with social media influencer Kartik Surya, released as part of the promotions for his latest film, Prince and Family. The conversation begins with a nostalgic tour through Dileep’s early years, as the actor recalls his childhood love for cinema, initiation into mimicry, and humble beginnings as an assistant director.
These anecdotes seem cautiously framed to evoke empathy, painting him as a self-made man who rose through struggles with perseverance. Midway through the conversation, he declares that he is “part of every household,” portraying himself as a beloved public figure whose fans, he claims, pray for his well-being. The lines he espouses position him not as a man embroiled in controversy, but as a cultural icon wronged by circumstance.
Throughout the conversation, Dileep stresses on the “strong friendships” he has built over the years, suggesting that these enduring relationships continue to shield and support him within the industry.
He cites Ramaleela — a film released in September 2017, when he was in jail after being arrested in the actor assault case — as a divinely timed gift. Subtly, he implies that the late screenwriter Sachi captured Dileep’s real-life struggles in the film’s script, thereby vindicating him in the eyes of the public. The film, he suggests, became a cinematic metaphor for how “misunderstood” he believes he has been. He goes on to add that people who supported him were unfairly maligned, an observation clearly tailored to sidetrack and sanitise his own version of the story.
Meanwhile, the anchor, in absolute reverence, assures Dileep that he will make a grand return, praising his resilience with near-theatrical devotion. The lowest point comes when the host virtually prostrates himself before the actor, lauding his ability to endure and emerge “stronger” from his ordeals. The entire exchange plays out like a choreographed redemption arc — carefully staged, emotionally manipulative, and uncritically celebratory. It is transparently designed to recast Dileep as a committed actor, benevolent figure, and quintessential family man.
Another promotional interview opens on an overly sentimental note, with the young female host visibly tearing up as she recalls the tribute title card in Prince and Family. She gushes about how heartwarming it was to see Dileep celebrated once again. In a theatrical gesture, she even starts distributing sweets to mark the occasion.
As the conversation progresses, Dileep launches into a convoluted monologue about how films should be watched “without judgement.” The implication is clear: if his films aren’t connecting with the audiences, it’s not a reflection of their quality, but rather the fault of preconceived notions stemming from his controversial past. Adding to the discomfort is the presence of actor Siddique — who himself faces a case of rape — seated comfortably beside Dileep. With practised ease, Siddique leans into the friendly, nostalgic tone of the conversation, painting Dileep as the ever-familiar “boy next door.”
In yet another promotional interview, Dileep doubles down on the narrative that the criticism surrounding Prince and Family was not organic but orchestrated. He claims that those who panned the film were deliberately attempting to sabotage its success, contrasting their views with what he described as the “overwhelming love” the film had received from family audiences, who, according to him, had embraced it wholeheartedly.
Actor Dhyan Sreenivasan’s interactions with Dileep, especially in this interview, is too contrived to overlook. From the outset, Dhyan assumes the role of Dileep’s most enthusiastic fanboy, showering praise with the kind of exaggerated fervour that feels more performative than genuine. At one point, he even playfully “challenges” producer Listin Stephen for daring to claim he is a bigger Dileep fan.
The tone veers into the absurd when Dhyan takes issue with Prince and Family being referred to as Dileep’s “comeback,” asking indignantly if the actor had ever delivered a poor performance in his entire career. What follows is an almost 15-minute monologue — part rant, part eulogy — in which Dhyan gushes over Dileep’s supposed “magic,” unparalleled talent, and enduring appeal, all while completely glossing over the serious controversies that cloud the actor’s public image.
And then comes writer Sharis Mohammed’s impassioned speech, yet another carefully timed display of allegiance. With theatrical fervour, he professes his steadfast love and admiration for Dileep, calling on audiences and critics alike to exercise “restraint” when critiquing Prince and Family.
Sharis’ emotional plea suggests that the negative reviews weren’t genuine assessments of the film’s quality, but part of a larger, coordinated effort to malign Dileep. He insists that no film, regardless of its flaws, deserved the level of “hate” directed at Prince and Family. He subtly portrays Dileep as the ‘real victim,’ persecuted not for any past controversies, but for daring to make a film.
Also read: An orchestrated nightmare: A sexual assault that unmasked Malayalam cinema
For years, Dileep has used media interviews as a calculated strategy to rehabilitate his public image.
A decade ago, shortly after his divorce from actor Manju Warrier, he spoke to a well-known Malayalam magazine about the prospect of remarriage. He said that when he broached the topic with his daughter, she asked him if he hadn’t already “endured enough suffering.” Dileep, true to form, recounted this with characteristic humour, reinforcing the carefully curated image of a man wronged, a hapless victim emerging from a turbulent marriage.
Throughout this period, Dileep consistently sidestepped persistent rumours that linked him romantically to fellow actor Kavya Madhavan. Instead, he positioned himself as a martyr, shouldering burdens imposed by others and bearing the consequences of misdeeds that, according to him, were not his own. His public narrative painted a picture of patience and sacrifice, even as speculation about his personal life continued to intensify.
But then, exactly a year after his divorce, Dileep married Kavya in a closely guarded private ceremony. The unexpected announcement not only shocked both fans and the media, but also prompted the public to reanalyse their earlier harsh judgement of Manju.
Of course, Dileep did what was expected of him. Minutes before the ceremony, he appeared live on social media and claimed that the marriage was primarily a step to protect Kavya’s reputation. He said it was a gesture of friendship, not the culmination of a long-standing affair as many had speculated.
This was one of the earliest glimpses into Dileep’s manipulative ability to shape public narratives and control perceptions to serve his interests.
Then came the shocking abduction and sexual assault of a popular female Malayalam actor in February 2017. As the investigation progressed, Dileep was arrested, accused of masterminding the brutal crime.
In the days before his arrest, he gave an exclusive interview to Manorama Online, where he made deeply controversial and derogatory remarks — not only about the survivor but also targeting his former wife, Manju. His statements, widely condemned as vile and inflammatory, are believed by many to have heightened police suspicion and intensified scrutiny of his role in the case.
On July 10, 2017, Dileep was formally arrested, marking one of the most sensational chapters in Kerala’s legal and cinematic history. After spending nearly three months in judicial custody, he was granted bail and released on October 3, 2017. His arrest and the gravity of the allegations fundamentally altered public perception, casting a long shadow over his career and personal narrative.
Comeback and after
Perhaps the greatest challenge for Dileep — once a dominant force in Malayalam cinema — has been reclaiming the public image he had so carefully cultivated over the years. At the peak of his career, he wielded significant influence within the industry, to the extent that even stalwarts like Mammootty and Mohanlal were said to tread cautiously around his behind-the-scenes power plays.
But following his arrest and the damning allegations in the 2017 case, Dileep’s glittering reputation took a dramatic fall. The turmoil dealt a severe blow to his once thriving career. Of the 11 films he appeared in following the controversy, only three managed to make any impact at the box-office, while the rest floundered.
Industry observers and critics attributed this decline not just to his tarnished public image, but also to his apparent inability or unwillingness to evolve with the changing cinematic landscape. His continued reliance on outdated tropes and the formulaic ‘Dileep brand’ of slapstick comedy are failing to resonate with modern audiences. This was evident even in recent outings such as Pavi Caretaker (2024) and Prince and Family.
While Dileep’s desperate attempts to salvage his career are understandable, what’s truly baffling is the willingness of certain social media influencers and popular YouTube channels to go the extra mile to sanitise his reputation. Their complicity raises serious concerns about the ethics of digital content creators and media platforms, especially given the influence they wield over large, impressionable audiences.
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.