Veteran actor, director and screenwriter Sreenivasan, known for his sharp social and political satire, passed away on Friday morning.
A defining voice in Malayalam cinema for over four decades, he blended popular humour with incisive commentary on middle-class anxieties and power structures.
He leaves behind an influential body of work that reshaped comedy and social drama in Kerala cinema.
Sreenivasan, the actor, director and screenwriter who brought sharp satire and moral inquiry into Malayalam cinema, passed away on Saturday morning. Over a career spanning more than four decades, he emerged as one of the industry’s most distinctive voices, using humour and irony to interrogate Kerala’s social hierarchies, middle-class anxieties and political culture. His work enjoyed immense popular appeal while consistently drawing critical acclaim, placing him in the rare position of being both a mass entertainer and a perceptive commentator on society.
As a director, Sreenivasan made a lasting mark with Vadakkunokkiyanthram (1989), a landmark film that won the Kerala State Film Award for Best Film and remains a sharp exploration of masculinity, insecurity and social conditioning. His other directorial venture, Chintavishtayaya Shyamala (1998), earned the National Film Award for Best Film on Social Issues for its sensitive portrayal of personal crisis within a conservative social framework. As a screenwriter, he received Kerala State Film Awards for Best Screenplay for Sandhesham (1991) and Mazhayethum Munpe (1995), films that showcased his range—from biting political satire to intimate human drama. Over the course of his career, Sreenivasan received numerous honours, including a National Film Award, two Filmfare Awards (South), and six Kerala State Film Awards.
Sreenivasan’s scripts struck a deep chord with the Malayali middle class’s social and political anxieties, articulating everyday dilemmas through accessible narratives and sharp wit. While some critics viewed this position as apolitical or centrist, his work was never detached from the realities of its time. Sandhesham, in particular, stood out as a rare and unsparing critique of party politics in Kerala during the 1990s, exposing dogmatism and political opportunism with equal force. Through such works, he carved out a unique cinematic space—one that questioned power examined politics through the lens of ordinary lives.
A frequent collaborator of directors Priyadarshan, Sathyan Anthikad and Kamal, Sreenivasan played a pivotal role in shaping Malayalam cinema’s comedy and social drama, redefining humour as a vehicle for social observation and critique. He leaves behind a rich body of work that continues to shape Malayalam cinema’s engagement with society and politics, and a legacy defined by intelligence, courage and an enduring faith in satire as a tool of social critique.
Born in Thalassery in 1956, Sreenivasan studied at the Film Institute in Chennai before making his acting debut in P.A. Backer’s Manimuzhangunnu (1976). He went on to act in more than 200 films. He is survived by his two sons—Vineeth Sreenivasan, a singer, actor, director and producer, and Dhyan Sreenivasan, an actor, director and producer—both of whom have carved out successful careers in Malayalam cinema.
