KR Rejeesh
If I were to choose an actor who has astonished me the most in the last decade in Malayalam Cinema, it would certainly be Indrans. My admiration for this costume designer-turned-actor lies in what I see as his perseverance to ignite the fire for acting in him more passionately, to emerge as an accomplished artiste. His grit to be unmindful of his slender and diminutive figure has helped him grow as a confident actor in an industry where glamour and fan-following matter the most.
I watched him in a soap opera for the first time in a black and white television years ago, when 13-episode TV serials were the rage on Doordarshan. His lean and fragile frame did not fall within the accepted template required of a comedian. I remember, during those days, people of my locality used to address comedians, who appear in dramas, as “tholans” (extremely wiry persons). Such comedians could leave people in splits because their lean body was an integral part that had a comic effect even among audiences, who sit far off the stage. In that serial Indrans had a physique that was not run-of-the-mill – a small built person with a rather long neck – with his quaint mien and dialogue delivery were a novelty. It was riveting to watch him as serials seldom had (an element that remains unchanged till date) genuine humour in the content.
Albeit we liked him, we could not identify his real name. After watching the credits shown at the end of the serial, someone said he was ‘Kothuku’ Nanappan. That name stuck. We used it. His physique validated our judgement. In fact, it turned out that ‘Kothuku’ Nanappan was the name of another actor in that serial!
The name ‘Indrans’ came to the fore as the costume designer in the late Padmarajan’s films and later, as an actor, in Rajasenan movies. Indrans was as good as a permanent fixture in the films of director Rajasenan. It is evident that from the very outset of his acting career, Indrans had a unique identity. His mannerisms gave a fresh dimension to slapstick comedy in films. In the films that followed it was a kind of grooming session for Indrans, ensuring a smooth journey to become a mature actor. I reckon he had gleefully converted those brief roles into an opportunity to buff his acting skills and grow into a character actor. Significantly, he was conscious of his conflict of interest – as a costumer and an actor. But such awareness did not persuade him to concentrate on his tailoring jobs only. Perhaps, his experience in stage dramas enabled Indrans to evaluate the acting profession in a better way.
The result of his self-discovery as an actor has shown up in the films “Kathaavasheshan” (2004), “Nizhalkuthu” (2002), “Raamaanam” (2009) and “Munroethuruthu” (2016). Interestingly, he could make viewers, who used monikers like “Kudakambi,” appreciate him for his stupendous performances. Indrans’ character as a grandfather in the extremely well-received film “Munroethuruthu” is struggling to comprehend the bizarre demeanours of his grandson. The complexity in understanding the next generation of his family is beautifully portrayed with minimal effort and simplicity. His grandson Keshu’s acts sow the seeds of remorse as well as shame in grandpa, a throwback to the deeds during his salad days.
The character Joseph in the film “Apothecary” (2014) showcases the plight of a poor father and his angst for his ailing son. Indrans deftly portrays the dilemma of a downtrodden man in his brief appearance in the film without putting on the garb of a melodramatic performer.
In “Buddhanum Chaplinum Chirikkunnu” (2017), Indrans, in the lead role, raised the benchmark for his performance. Though the film was not received well at the box office, his character Indragupthan reinforced the fact that as an actor Indrans is capable of shouldering the onus of a serious theme. The Gandhian in “God Say” (2017) shows glimpses of his versatility while donning serious characters. Such a character essayed by Indrans would have been watched impassively by the audience a few years ago. If they are glued to the screen today, it is ample testimony to the recognition given to Indrans as a thespian.
As a politician in “Rakshadhikari Baiju – Oppu” (2017), Indrans appears only in a few scenes, but through his body language and facial expressions, he carries off the cynical trait of the character with ease. In “Parava” (2017), his voice first dominates the viewers convincingly while his character expresses the anxiety of a father about his carefree son. Indrans’ transformation is quite amazing considering the rigorous yardsticks Keralites have set for judging an actor. In that sense, Indrans has ascended the popularity charts and captivated moviegoers with realistic portrayals of a broad spectrum of characters, and persuaded filmmakers to explore his untraced acting potentials, more importantly made audiences to sit up and take him seriously.
In his quasi-autobiographical book “Soochiyum Noolum,” Indrans delineates his love for tailoring and the stage. He also confesses about his inferiority complex and never hesitates to reveal about his Class four educational qualification. When Indrans expresses his desire to be part of meaningful films, it is indication enough of his intense perspective and passion towards good cinema.
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My Writing Stable -KR Rejeesh 