The Enduring On-Screen Chemistry Of Mohanlal & Shobana

Anubandham To Thudarum: Why Mohanlal & Shobana Still Spell Magic

Mohanlal and Shobana's on-screen partnership flourished across decades. Their chemistry thrived not on romance alone, but on a quiet grace that let their characters grow, clash, and sometimes part. Neelima Menon writes.

THE REUNION OF SHOBANA AND MOHANLAL in Thudarum feels like a masterstroke, bringing together two of Malayalam cinema’s most beloved actors. Considering their undeniable on-screen chemistry and also the fact that both actors are at pivotal points in their careers, here's a walk down memory lane to understand what really made them click.

The turbulent early 80s

In the 1980s Malayalam cinema, where family dramas reigned supreme, it was just incidental that Mohanlal and Shobana’s on-screen pairing began rather conventionally in KS Sethumadhavan's Avidathey Pole Ivideyum (1985), a year after her debut in April 18 . The 15-year-old Shobana played the submissive, traditional wife opposite Mohanlal’s character, Sukumaran. She was pitted against her outgoing, independent sister-in-law (Kavita Thakur) in a narrative that ultimately reinforced traditional gender roles. In the same year, she debunked that image in IV Sasi’s Anubandham, by portraying a complex, disagreeable woman struggling to adapt to her new environment and marriage. Her snobbishness and nagging have complicated her relationship with her husband, Bhaskaran, until a tragedy brings them together.

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Ironically, Mohanlal and Shobana’s early collaborations featured complex, dense relationships in MT stories. Be it in Rangam (1985), in which Kathakali exponent Appunni (Mohanlal) battled unrequited love for his protégé (Shobana) and ended up killing her lover, or the conflicted bond between Meera (S) and her cousin Appu (M) in Abhayam Thedi (1986) , their celluloid chemistry took a while to fully blossom.

When dynamics shifted, chemistry sharpened

Somewhere in the late 80s, when Mohanlal hadn’t yet transitioned into his much-celebrated alpha-male persona and thrived in roles that featured nuanced portrayals of ordinary men, his heroines also underwent distinctive transformations, often serving as catalysts for his character’s growth. Though one saw glimpses of it in Sathyan Anthikad's TP Balagopalan MA (1986), which had the leading man struggling to navigate his family and love life, the most notable shift happened in Sathyan Anthikad’s Nadodikattu (1987). Dasan’s (Mohanlal) constant bragging about his “BA first class” degree at the most inopportune moments reveals his deep-seated insecurities stemming from unemployment and the societal pressure to secure a white-collar job. It is Radha (Shobana) who not just perceptively identifies his underconfidence but also gently confronts him, eventually catalysing his growth. Therefore, Radha also becomes that archetypal Anthikad heroine—the one who subtly guides the hero’s coming-of-age while remaining unobtrusively in the background.

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A similar dynamic can be seen in Priyadarshan’s Vellanakalude Naadu (1988), in which he played an earnest contractor, C Pavithran. Having lived under the shadow of overachievers, CP is desperate for validation from his family. When Radha, his former childhood sweetheart, re-enters his life, CP is struggling to hold fort, caught between his ethics and survival. Again, like Nadodikattu, it is Radha (Shobana) who eases him out of this rut and gives him the courage to stand for the truth.

Nandini and Balachandran’s relationship in Mohan's Pakshe (1994) captures all the complexities of love, sacrifice, and longing. Despite witnessing her lover Balachandran selling himself into a transactional marriage, Nandini chooses to remain single. But unlike stereotypical portrayals, Nandini channels her energy into a successful writing career, rather than succumbing to a bitter, lonely existence. Nandini’s calmness is what shines through, surprisingly resilient in the face of unrequited love. Meanwhile, Balachandran’s self-martyrdom and guilt-driven decisions make his sacrifice seem more like cowardice. The penultimate scene’s missed opportunity underscores his life’s cyclical nature, once again bound by obligation and family honour. But in sharp contrast to Balachandran’s stagnant life, Nandini’s trajectory hints at a different path of fulfilment.

Though not alike, there's a similar scenario of unfulfilled love in TK Rajeev Kumar's Pavithram (1994) between Meera and Unnikrishnan. Even when he was courting Meera, Unnikrishnan remained unambitious, refusing to take over the reins of her father’s company. When he had to choose between his sister and Meera, he made the difficult decision of letting her go. But Meera’s chapter ends there, with the narrative focusing on his obsessive fraternal bond with her sister. While Ullakkadakkam's (1991) Annie is that easy-going, dreamy girlfriend of Dr Sunny (Mohanlal) who sharply contrasts with the more temperamental Reshma (Amala).

In Malayalam cinema, the idea of a “successful romantic pair” often transcended conventional tropes. Instead, chemistry was rooted in familiarity, warmth, and everyday moments—a gentle smile, a different conversation, or shared mundane tasks. It can also be that such a nuanced portrayal suited the maturity of the lead actors, often in their 30s and 40s. Even in the whimsical Thenmavin Kombatthu (1994), Mohanlal’s goofy Manikyam and Shobana’s exotic Karthumbi exuded genuine chemistry, infused with humour. Perhaps it is the only instance, along with Minnaram (1994), in which they made a song and dance about their feelings.

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Mohanlal’s easiness and charm complemented Shobana’s subtle sensuality, often conveyed through their understated intimacy. It was very authentic, often playful, yet effortlessly natural. That’s perhaps why they managed to create such a unique, poignant bond in a narrative where their relationship was more fraternal than romantic. In Fazil's Manichithrathazhu , Dr Sunny serves as an emotional anchor for Ganga, thereby strengthening her bond with her husband, Nakulan (Suresh Gopy), and bringing new depth to the narrative.

The last few reunions were bland

As Shobana entered her 30s in the 2000s, her filmography began to dwindle, ironically reflecting an industry trend where female actors' roles diminished with age. Meanwhile, Mohanlal, a decade senior to her, had gradually transitioned into more mature, alpha male roles, which, in turn, relegated his on-screen heroines to secondary, ornamental roles. That’s perhaps why their rare collaborations ( Shradha , Mampazhakkalam ) hardly made any impact. In fact, in Amal Neerad’s Sagar Alias Jackie, Bhavana is paired opposite Mohanlal, while Shobana is a sisterly figure, and Mohanlal is her benefactor. “I am not a 20-year-old, right? How can I be his heroine?” was how Shobana retorted to this new role in a magazine back then.

Shobana has made sporadic appearances in Malayalam cinema since then, though her last appearance as a 50-something single mother in Anoop Sathyan's Varane Avashyamund ( 2020) can be considered one of the finest written roles of her career. Now, five years later, she is back in Tharun Moorthy's Thudarum , reuniting with Mohanlal—an actor with whom she shares some of her most memorable and iconic performances. This vintage pairing feels particularly serendipitous as Mohanlal’s career trajectory currently calls for a creative resurgence.

ALSO READ | The Mohanlal Dilemma: Between Balancing Stardom & Artistic Expression

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