THE ROLE OF NIRUPAMA RAJEEV in How Old Are You? (2014) had curious parallels to Warrier's life. It marked her return to films after a 14-year hiatus that coincided with the end of her marriage to fellow actor Dileep amid an intense media circus. Public perception, at least to begin with, cast her in an unkind light, based on factors such as their daughter choosing to live with Dileep after her parents' divorce. The discourse continued in this vein until Dileep's 2016 wedding to longtime co-star Kavya Madhavan, and close on its heels, the 2017 actress assault case in which he is still embroiled.
In How Old Are You? Warrier's character is a government employee in her 30s, constantly condescended to by her husband and teenage daughter. She brushes it all off, until a former classmate helps her realise that her identity isn't tied in with the people who surround her. Nirupama understands that she has to advocate for herself, and the moment she decides to take charge of her life, things begin to change. It seemed like a meta moment for Warrier, who like her onscreen character, was rediscovering the long-buried individual within.
The critical and commercial success of How Old Are You? Opened the floodgates and Warrier was awash in author-backed roles. This was a new phenomenon in the largely male-dominated Malayalam cinema: the resurgence of a female actor after a two-decade gap and still having the wherewithal to call the shots. (Tamil cinema witnessed this with Nayanthara.) It was also a matter of the right time: Malayalam cinema was becoming more receptive to new ideas, subverting cliches and challenging hyper-masculine narratives. If Warrier picked films with the same caution she exhibited in her first innings, this time round, the focus on her was greater.
In Aashiq Abu's Rani Padmini (2015), she played a gentle homemaker settled in Punjab who shrugs off her own timidity and the machinations of a scheming mother-in-law to go in search of her indecisive spouse (an off-road racing enthusiast). Her understated histrionics worked magic in C/O Saira Bhanu (2017), in which she portrays a post-woman with an adopted son. While Warrier's filmography at this time had several missteps (Jo and the Boy, Vettah, Aami, Mohanlal, Karinkunnam 6's) the actor found her rhythm in Udaharanam Sujatha, an official remake of Nil Battey Sannata, in which she played the single parent of a defiant teenager who disregards her mother's efforts to educate her. Warrier brings a sublime integrity to Sujatha, a domestic worker, reflecting the struggles of a mother, who is determined not to see her daughter follow her path. In the middling Odiyan, Warrier's Prabha was the sole redeeming factor. In 2019's Lucifer, Warrier was Priyadarshini Ramdas — the volatile remnant of a political lineage, who hates her father's adopted son. After Madhuri in Prathi Poovankozhi, Lucifer is easily one of her most searing acts; a scene in which Priyadarshini confronts her second husband about molesting her daughter is easily one of Warrier's finest performances, revealing a hitherto unseen facet of her craft.
Marakkar: Arabikadalinte Simham, Meri Awaaz Suno and Lalitham Sundaram were shallow outings for Warrier, but the actor has always thrived in realistic, rustic spaces that tap primeval emotions in her characters. We saw this during the first spectacular stretch in her filmography — from Eee Puzhayum Kadannu, Kaliyattam, Aaraam Thampuran, Kanmadam to Kannezhuthi Pottum Thottu. Put her in an ordinary, relatable role and Warrier's naturalism shines. Even in the immensely forgettable Jack N Jill, if at all there is some relief, it is whenever Warrier breaks into a graceful stunt sequence, bedecked in all her ornamental finery.
At the age of 43, Warrier has a ways yet to go. And examining her oeuvre closely reveals a curious contradiction: while she has prioritised well-etched characters, she has rarely challenged the status quo for women on celluloid. The talented journalist Devika Shankar, who cuts a cop down to size in public finds herself reduced to a weepy mess halfway through in Pathram (1999); the spunky, mischievous Unnimaya — after her initial chutzpah — nearly prostrates before the hero in Aaraam Thampuran. Meanwhile, Bhanumathi, who supports her family in Kanmadam, allows the hero to break through her defenses with a kiss. And the plucky Abhirami is forcefully married against her wishes in Summer in Bethlehem (1998). Even in Lucifer, her character eventually is putty in the hands of Mohanlal's Stephen Nedumpally.
Considering the discourse around female representation on celluloid, it would be interesting to see Warrier explore characters beyond the binaries. More so, as the OTT space has opened up such wide-ranging possibilities that actors of Vidya Balan, Madhuri Dixit, Shefali Shah, Juhi Chawla, Raveena Tandon, Konkona Sen Sharma and Pooja Bhatt's calibre have been able to diversify their repertoire and traverse untapped terrain. It would be fascinating to see Warrier delve into a flawed, morally grey character as well.
Today, Manju Warrier is both a superstar and a flourishing brand. All that is required now, is for her to stop playing safe.
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