Malayalam Cinema’s Most Unforgettable Love Stories

From Mathilukal To Mayanadhi: The Many Facets Of Love In Malayalam Cinema

Whether it’s fleeting passion, lifelong devotion, or heartbreak, these films capture love in its rawest form, proving that relationships are as unpredictable as they are unforgettable, writes Neelima Menon .

LOVE takes many forms—unexpected, fleeting, profound, and enduring. Experience its complexities with our curated selection of films that explore the depth of human connection. These stories delve into everything from the thrill of forbidden romance to the weight of deep emotional attachment and passion. With their nuanced storytelling and intense emotional resonance, these films remind us of the life-changing power of love.

Ore Kadal (Forbidden Love)

Shyama Prasad weaves a forbidden romance in Ore Kadal , based on Sunil Gangopadhyay’s novel Hirak Deepthi . Deepthi (Meera Jasmine), a young homemaker living with her husband and toddler, is at the core of this narrative set in a metropolis. Her life takes a dramatic turn when Nathan (Mammootty), an economist, becomes her unlikely benefactor. Soon they embark on an affair, and though Deepthy falls deeply in love, Nathan remains detached, seeking only physical intimacy. Deepthy is shattered when she realises her feelings aren’t reciprocated, leading to a breakup and emotional meltdown. While she is struggling to reconcile her responsibilities with her conflicting heart, Nathan has descended into an emotional abyss, unable to get her out of his mind. Interestingly the husband is unaware of her situation or distress.

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The film’s open-ended conclusion offers a poignant sense of closure, with Deepthy seeking out Nathan and finding solace in his heartfelt confession. That the narrative maintains a non-judgmental stance, focusing on the intricacies of the Deepthy-Nathan relationship without succumbing to societal pressures or expectations, makes Ore Kadal a disarming and introspective experience.

Ramante Eden Thottam (Emotional intimacy )

Ranjit Sankar tackles a sensitive and often overlooked topic in Malayalam cinema: emotional abuse in marriages. Malini (Anu Sithara) is trapped in a toxic marriage with a husband who consistently disrespects and takes her for granted. On a family vacation, Malini finds herself drawn towards the resort’s owner, a gentle, compassionate widower, Ram (Kunchacko Boban), adding a layer of complexity to the narrative. They forge a tender, emotional bond while acknowledging the societal constraints that forbid it.

But in the end, Ram’s presence in Malini’s life catalyses her growth and empowerment. Even without knowing it himself, it is Ram who helps her discover her strength to leave her marriage and reclaim her agency. The narrative thoughtfully explores the consequences of emotional abandonment in relationships, stressing how it can damage an individual’s sense of self.

Kanamarayathu (Age gap)

At the heart of this story directed by IV Sasi and written by Padmarajan is Shirley (Shobana), an 18-year-old who falls deeply in love with the much older Roy (Mammootty). An orphan brought up in a rigid convent, Shirley is naïve to the ways of the world, making her vulnerable to the densities of love. Though her lack of experience with boys makes her awkward socially, Shirley remains unapologetically herself. Even when Roy consistently discourages her, wary of their significant age gap, Shirley would rather wear her heart on her sleeve, declaring her love with a candour that can thaw the coldest of hearts. It is also true that Roy isn’t always able to maintain emotional control around Shirley, which ends up creating a poignant tension between them.

Though seemingly old-fashioned by today’s standards, one has to concede that there is a timeless appeal and freshness to Kanamarayathu’s portrayal of romance. There is a striking paradox in watching Roy being captivated and intimidated by Shirley’s pure, and unfiltered love, which only serves to highlight the intensity of his longing. Kanamarayathu once again reinstates the complexities and contradictions that often accompany love, desire, and relationships.

Anuraga Karikkin Vellam (Married couple rekindling love)

Though Khalid Rahman, in his debut directorial, navigates two love stories, it is the poignant portrayal of a middle-aged married couple’s rekindled romance that truly takes you by surprise. Suma (Asha Shareth) is a devoted homemaker who has resigned herself to a loveless marriage with her temperamental husband, Raghu (Biju Menon). But in an unexpected twist in the tale, Raghu’s rekindled “friendship” with his old flame ends up reviving his obsolete marriage. Raghu (Biju Menon) unaware that he is in reality talking to his son’s ex-girlfriend, eagerly seeks her counsel and her advice gradually helps in rebuilding his marriage.

One of the most endearing scenes features Suma’s delighted surprise and embarrassment when Raghu, her husband of two decades, kisses her unexpectedly. Once the process of the revival unfolds, it’s cathartic to watch the couple falling all over in love again, discovering newer facets of each other, and revelling in the warmth of renewed love. It’s a film that shows you the importance of nurturing relationships. At times, all a relationship needs is a catalyst to remove the monotony that has clouded its existence, thereby allowing love to blossom again.

Pranayam (Second chance in love)

Blessy, known for his nuanced portrayals of man-woman relationships, shows us his finest hour through the sublime romance of ageing couple Grace (Jayaprada) and Mathews (Mohanlal). For Grace, this is her second chance at love, and she seems to have found her perfect match in Mathews, till an accident confines him to a wheelchair. What could have been a despondent existence is oddly purified by the sheer profundity of their love. So even amidst this setback, their love remains unwavering, transcending the physical limitations.

If Grace tends after him lovingly, Mathews reciprocates through glances and gentle smiles that can still make her blush. Here is a couple who have weathered life’s storms together, preserving their passion, respect, and love for each other. Pranayam inspires us to believe in timeless love, moving beyond superficial romantic notions. The film also celebrates the beauty of second chances, reminding us that love can flourish again, even in life’s later chapters.

Oru Cheru Punchiri (Long-lasting Love)

Director-writer MT Vasudevan Nair brings together an old married couple, tenderly captures their mundane existence and ends up crafting one of the finest love stories in Malayalam cinema. Ammalutty (Nirmala Sreenivasan) and Krishna Kurup (Oduvil Unnikrishnan), both in their 70s, inhabit a serene old house in a quaint Kerala hamlet. And despite witnessing each other’s frailties, their love hasn’t wilted a bit. Sure, they still bicker over trivial things, can finish each other’s sentences, and still find it difficult to be apart from each other for a long period.

MT skillfully crafts moments that fill our hearts with inner peace—such as Krishna Kurup’s pride in Ammalukutty’s new Kasavu Mundu, and her lingering jealousy towards his old love. Their love has truly matured, becoming more vigorous and stimulating with time. MT’s genius lies in his ability to evoke a deep sense of warmth and tranquillity through their enduring love story.

Moothon (Same gender love)

What salvages an otherwise conventional gangster film, directed by Geethu Mohandas is the heart-wrenching love story between Akbar (Nivin Pauly) and Ameer (Roshan Mathew). The moment the gorgeous Ameer, a mute locks eyes with Akbar in the middle of a disturbing religious ritual, we are drawn into their heartbreakingly beautiful romance. Though Akbar takes time to acknowledge the matters of his heart, Ameer doesn’t hold back, using his expressive eyes to convey his unfiltered love.

These portions are handled with such delicacy and finesse, that the complexity that usually comes with watching gay romance on screen never bothers us. One of the finest moments in Nivin Pauly’s career is the shot of him blushing at his reflection in the water at the thought of his lover. Moothon will forever be celebrated for its authentic portrayal of gay romance in Indian cinema.

Mayanadhi (Tumultuous love)

From the onset, the Appu-Mathan romance (directed by Aashiq Abu) is a volatile, all-consuming force. Though the romance started in school, it was always marred by Mathan’s transgressions, yet no one loved Appu (Aishwarya Lakshmy) with the same maddening intensity as Mathan (Tovino Thomas). He knew he had failed her and relentlessly sought her forgiveness, following her like a lost puppy. Appu would shoo him away but eventually, they always got back together.

Their love was akin to everyday war. Yet they held on to each other’s dear life. Their love was a paradox—inconsistent, yet unshakeable, volatile, yet enduring. That’s why when it ultimately implodes, we feel routed. Mayanadhi is an unflinching exploration of love in all its messy, intense glory, it is both haunting and thought-provoking.

Mathilukal (Phantom love, Epistolary romance)

One of the biggest challenges director Adoor Gopalakrishnan faced while adapting Basheer’s Mathilukal onto the screen was to transform the enigmatic Narayani, a voice from beyond the prison walls, into a vibrant presence. And perhaps that creative hurdle also became the most fascinating bit about the romance. When Basheer (Mammootty) is lost in his solitary reverie and first hears a female voice (KPAC Lalitha), he is entranced.

Soon romance blossoms between these two isolated souls who find comfort in fleeting conversations. Though they never meet, their bond is almost tangible, marked by desire, tenderness and longing. So by the time a hopelessly-in-love Basheer takes his leave from jail, he is overcome with emotions and is unable to bid Narayani goodbye. The image of Basheer staring longingly at a flower bud drifting from the other side of the wall remains a haunting memory, a powerful testament to their profound connection.

Namukku Parkkan Munthiri Thoppukal (Profound love)

After his usual midnight road trip from Mysore, Solomon was supposed to drive back the next morning. But all that was forgotten when he saw Sophia (Shari) digging in her garden. Unbeknownst to him, Solomon (Mohanlal) had already lost his heart to her. But then convincing the evasive Sophia to fall in line with his plans wasn’t quite easy as she was battling her demons at home. Eventually, his charm won, and Sophia found the courage to face the world alongside him.

Such was Solomon’s unflinching love for Sophia that even after the devastation, Solomon’s unwavering love for her remained constant. No wonder this Padmarajan classic is part of history, celebrating the redemptive power of love and emotional resilience.

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