Great Heroes Need Greater Villains

Power, Redemption & Payback: What Malayalam Cinema’s Villains Say About Its Heroes

In Malayalam cinema, the hero may be idolised, but it's the villain who defines his legend. From Thazhvaram ’s Raju to Thudarum ’s George Mathan, adversaries have long shaped the arc of the superstar, writes Neelima Menon .

IN MALAYALAM CINEMA , crafting a formidable adversary to a larger-than-life superstar often involves creating a one-dimensional villain — a foil to the hero's virtuosity. This archetype will always be the antithesis of the hero's values — morally corrupt, demonic, unapologetic, malevolent. The villain's singular purpose will always be to serve as a counterpoint to the hero's righteousness. And as always, the climactic confrontation will culminate in the villain's downfall, thereby providing a cathartic payoff that reinforces the triumph of good over evil. Oddly, the audience’s appetite for villainy was always insatiable — the more egregious the villain’s deeds were, the more satisfying the hero’s triumph was.

Perhaps it was this contrast-driven payoff for the hero that inadvertently spawned a parallel fan base for Shanmugam’s (Mohanlal) arch nemesis, the menacing CI George Mathan (Prakash Verma) in Tharun Moorthy’s Thudarum . Nothing about George’s affable demeanour gives him away, save for his occasional lapses into offensive language. Shanmugam is almost indebted to him initially, considering he is the one who overlooks a corrupt officer’s spite and facilitates the retrieval of Shanmugam’s taxi from the police station. But soon this façade of benevolence starts to crumble, revealing a master manipulator and predator who leverages his authority and bends reality to his will to annihilate anyone obstructing his path.

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In sharp contrast, Shanmugam is a paragon of all virtue — the “messiah” who married a widow and tenderly nurtured her son. He is an endearing middle-aged man who remains nostalgically attached to his rundown ambassador, a gift from his mentor. By the time George has unleashed his wrath on the hapless Shanmugam, the audience is seething with derision, eagerly anticipating the hero’s triumphant reckoning. Just to lend credence to Shanmugam’s feat of single-handedly overpowering burly cops at the station, there is this backstory of him being a former movie stuntman (even for a stuntman that surely stretches credibility though). Despite the tragic undertones, Thudarum follows a familiar trajectory, concluding with the hero’s triumph over evil, reinforcing the usual narrative of good vanquishing darkness.

The 80s-90s: Powerful, yet one-note villains

In the era before larger-than-life narratives dominated Malayalam cinema, the antagonists in the films of Mammootty and Mohanlal possessed a distinct depth, despite their one-dimensional portrayals. Because the heroes weren’t invincible and fought fiercely, braving setbacks made their ultimate triumphs seem more earned. That’s precisely why the finale faceoff in Bharathan’s Thazhvaram is so iconic. The desert setting, the desperation, and the vultures looming overhead add a haunting atmosphere to the intense confrontation between Balan (Mohanlal) and Raju (Salim Ghouse). The emotional weight of Balan's vengeance quest makes their fight feel visceral and real. Similarly, in Joshiy's New Delhi , journalist G Krishnamurthy's (Mammootty) harrowing experience of being framed and brutally imprisoned seems like a death sentence. But when fate offers him a chance for retribution, GK ingeniously leverages his media presence as bait, defying conventions to lure his tormentors into a trap. The culmination, where his lover (Sumalatha) delivers a fatal shot to the nemesis amidst GK's desperate predicament surrounded by cops, feels peculiarly gratifying. This isn't about one-upmanship; it's a testament to GK's unyielding spirit and the cathartic power of vengeance.

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In Joshiy’s Dhruvam , Hyder Marakkar (Tiger Prabhakar) is a formidable and cunning adversary for Narasimha Mannadiyar (Mammootty). His resourcefulness is in his ability to evade justice through political connections. The highlight of this narrative is the intense and suspenseful cat-and-mouse game between the two, more so as Marakkar's calmness contrasts with Mannadiyar's vengeful pursuit.

The larger-than-life creator

In the late 90s, the rise of the larger-than-life hero was first witnessed in writer-director Ranjith's narratives. His alpha male heroes were always pitted against formidable antagonists. Ironically his heroes, despite their feudalism, cockiness, brashness and sexism, were glorified and their triumphs, celebrated. While this blurred the lines between good and evil, the villains ultimately met a bruising demise, reinforcing the hero's dominance.

So even though Mundakkal Shekharan (Napolean) was considered a worthy opponent to the brash and cocky Mangalasseri Neelakandan (Mohanlal) in IV Sasi’s Devasuram , it is also reinstated that Shekharan was too cowardly to confront him directly. Shekharan's victories over Neelakandan come from exploiting his unpreparedness and catching him off guard, thereby reinforcing the notion that Shekharan's methods are underhanded rather than straightforwardly heroic.

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Manapally Pavithran’s (NF Varghese) tactics against Induchoodan in Shaji Kailas’s Narasimham are vile and devious, showcasing his lack of courage to confront the hero directly. Though Induchoodan (Mohanlal) comes across as a glorified thug, the narrative is careful in highlighting his strength and moral fibre. The one-dimensionality of the antagonist is cushioned by the depth NF Varghese adds to his character. In Shaji Kailas’s Aaram Thampuran , Jagannathan's (Mohanlal) return to his roots is marked by his purchase of an ancient Tharavadu in his hometown, a place holding significant personal history. His father's tragic past, having been the temple priest falsely accused of theft and subsequently taking his own life, adds depth to Jagannathan's motivations. The one-eyed feudal lord (Narendra Prasad) serves as a formidable adversary, testing Jagannathan's resolve as he evolves from diplomacy to assertive action. In Ranjith’s Black , despite Hitman Shanmugan’s (Mammootty) involvement in organised crime and morally ambiguous actions, the narrative offers him a redemption arc. In contrast, Devin Carlos Padaveedan (Mohanlal), who owns the organised crime syndicate that Shanmugan is a partner of, is brutally killed in the end, thereby highlighting the narrative’s selective leniency towards the protagonist.

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In Big B , Sayippu Tony's character is elevated by Amal Neerad's direction, making him a compelling adversary for Bilal. Despite being a one-note character, Tony's suave and cocky demeanor, coupled with his unperturbed and remorseless attitude in the face of death, adds a layer of intrigue to his portrayal. This dynamic creates an interesting contrast with Bilal's unflappability, making their confrontation engaging. While Bada Rajan in Bheeshma Parvam, despite his outward show of ferocity and coolness, ends up as a weak adversary to the powerful Michael Anjootty (Mammootty). In Turbo , Vetrivezhel's character is a foil to Turbo Jose's strength. Despite Vetrivezhel's threats, connections, and conspiracies, he ultimately becomes ineffective against Jose, showcasing the latter's power and resilience.

Easily one of the most flamboyant antagonists in a superstar film in the recent past has to be Bobby in Prithviraj Sukumaran’s Lucifer . He exudes charm and confidence, effortlessly navigating complex situations with calculated precision. After his father-in-law's demise, he skillfully manipulates veteran party leaders while also exploiting his wife Priyadarshini's animosity towards her step-brother Stephen. With grandiose ambitions and an aura of invincibility, Bobby's true nature is chillingly revealed when he turns his predatory instincts on Priyadarshini's daughter. Take the scene at the office when a veteran party leader tries to negotiate between Bobby (Viveik Oberoi) and Stephen (Mohanlal), only to have the latter stage a walkout, issuing an open threat to Bobby. That Bobby remains deceptively cool even while facing the might of Stephen makes this duel rather compelling to watch on screen. Though his character predictably gets killed by Stephen, Bobby will always remain a worthy adversary to Stephen Nedumpally. A worthy foe would have elevated Abram Khureshi in L2 Empuraan , allowing for a more engaging and dynamic confrontation. A solid adversary will always sharpen the alpha male hero's antics, creating a more compelling storyline with intense conflicts and character development.

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