Mamukkoya
This is a collection of articles archived for the excellence of their content. |
A brief biography
Anandu Suresh, April 26, 2023: The Indian Express
“People have a natural right to live and die in the land of their birth, without needing permission from anyone. This was a natural law and not one created by any government or court. It is preferable to die with bravery than to live under the control of someone else. And no, we are not ready to lead an adjustment life,” said actor Mamukkoya in 2020, while participating in a protest against the Citizenship (Amendment) Act (CAA) organised by the Muslim Youth League.
How appropriate is it to open the obituary of a film actor with a political comment he made, despite having a career spanning over 40 years and over 400 movies, including a French feature? The fact that Mamukkoya gained popularity mostly for playing humorous characters makes it likely that, in the wake of his passing, most people will only remember him as an excellent actor, entirely ignoring his political awareness as a Kozhikodan. Hence, it is extremely important to begin the article like this.
Soon after the news of Mamukkoya’s death broke, Kerala Law Minister P Rajeev wrote on his Facebook wall: “With Mamukkoya also disappearing behind the fallen curtain, an entire generation of film personnel has bid goodbye to us. Innocent, KPAC Lalita, Kalpana, Thilakan, Nedumudi Venu, Sukumari and finally Mamukkoya…”
Rajeev’s statement would resonate strongly with Malayalees who grew up watching regional movies as naturally as breathing, as it is almost impossible to recall a movie since the 70s that did not feature one of these actors, who elevated the film’s overall quality with their captivating performances, with Mamukkoya being one of the most prominent ones.
Born to Chalikandiyil Muhammed and Imbachi Ayisha on July 5, 1946, in Kozhikode district’s Kallayi, Mamukkoya worked as a labourer in a timber yard during his early days, but he was also involved in the local theatre scene. Mamukkoya’s connection with the drama community helped him land his first film role in 1979, Anyarude Bhoomi directed by Nilambur Balan, a well-known supporting actor and one of the founders of the Kalithara drama troupe. However, it took Mamukkoya another four years and a word of recommendation by renowned writer Vaikom Muhammad Basheer to secure another character in a film – S Konnanatt’s Surumayitta Kannukal (1983). Unfortunately, both the film and his character went unnoticed.
The actor’s breakthrough in the industry came three years later when director Sibi Malayil gave him a notable character with a significant amount of screen time in his film Doore Doore Oru Koodu Koottam (1986), allowing Mamukkoya to demonstrate his potential to the Malayalam cinema world through his portrayal of Koya, a teacher. The film, a satirical comedy-drama that critiqued the education system in Kerala during the 1980s and 1990s, which was plagued by underqualified teachers and corrupt management, won the National Film Award for Best Film on Other Social Issues. Mamukkoya’s role, his excellent comic timing, and his use of the Mappila dialect received praise from the masses, making him a favourite among Malayalees.
Following Doore Doore Oru Koodu Koottam, he appeared in a cameo in Sajan’s Snehamulla Simham and went on to secure roles in Sathyan Anthikad’s Gandhinagar 2nd Street and Sanmanassullavarkku Samadhanam, marking the start of a fruitful collaboration between the two. It would not be an exaggeration or overstatement to say that Mamukkoya never looked back after that, as he has appeared in at least one film every year since 1986.
Many Malayalam actors have demonstrated their ability to handle various dialects over the years, but only a handful have been able to consistently use their signature accents in almost every movie without it seeming awkward or forced. Among them, Mamukkoya was possibly the first, and maybe even the last, to successfully employ the Mappila dialect in his performances, following in the footsteps of Kuthiravattam Pappu and his unique use of the Kozhikodan dialect.
Mamukkoya’s career reached its pinnacle in 1987 when he portrayed the iconic conman Gafoorkka in Sathyan Anthikad’s Nadodikkattu, which also starred Mohanlal and Sreenivasan. Even today, it is nearly impossible to find a Malayali who isn’t familiar with the reference “Gafoor ka dost,” demonstrating the enduring popularity of the character and Mamukkoya’s performance in Kerala’s pop culture.
Throughout his career, Mamukkoya delivered exceptional performances in a range of roles, including MLA Eranholi Aboobacker in Sibi Malayil’s action thriller August 1 (1988), local tea shop owner Aboobacker in Sathyan Anthikad’s Ponmuttayidunna Tharavu (1988), photographer in Sreenivasan’s Vadakkunokkiyantram (1989), pickpocket Kunjikhader in Anthikad’s Mazhavilkavadi (1989), film projector operator Jabbar in Kamal’s Pradeshika Varthakal (1989), and local politico P C Peruvannapuram in Kamal’s Peruvannapurathe Visheshangal (1989). All of these performances were widely appreciated and brought Mamukkoya acclaim as a prominent figure in Malayalam cinema’s comedy scene.
Similar to the late veteran actor Innocent, Mamukkoya also received one of the most iconic characters in his career in Siddique-Lal’s debut film Ramji Rao Speaking, where he played the role of Hamzakkoya, a man frantically searching for his friend Balakrishnan who owes him money. Despite being a comic character, the sudden change in his tone in certain scenes made the audience realise that Mamukkoya was not just about making people laugh, but could also portray characters with a strong emotional depth. Unfortunately, this was not fully recognized by the industry.
Nonetheless, Mamukkoya continued to embrace comedic roles until the very end, with unforgettable performances such as Abu (Cheriya Lokavum Valiya Manushyarum, Dir. Chandrasekharan), Unni Nair (Kalikkalam, Dir. Anthikkad), Raghavan Nair (Gajakesariyogam, Dir. P G Viswambharan), and Jamal (His Highness Abdullah, Dir. Sibi Malayil) that brought the house down. Kuthiravattam Pappu-Mamukkoya duo’s performances as ‘Valiya’ Raman Nair and ‘Cheriya’ Raman Nair, two ex-mahouts, still make the viewers crease up. The actor also shared sizzling chemistry with most of his co-actors and contemporaries, including Mohanlal, Sreenivasan, Innocent, Pappu, Urvashi, Kalpana, Thilakan, Philomina, Jagathi Sreekumar, Oduvil Unnikrishnan, Kalabhavan Mani and many others. His performances in various roles, such as Keeleri Achu (Kankettu, Dir. Rajan Balakrishnan), politician K G Pothuval (Sandesam, Dir. Anthikad), and Beeran (Chandralekha, Dir. Priyadarshan) underline the same.
Mamukkoya was a favourite of many renowned directors apart from Sathyan Anthikkad, such as Sibi Malayil, Kamal, Priyadarshan, and Shaji Kailas. Many of his dialogues, especially his comebacks, are still popular among Malayalees and quoted on different occasions, thus giving him the sobriquet in social media “King of thug dialogues”.
Mamukkoya bagged his first Kerala State Film Award (Special Mention) in 2004 for his portrayal of Abdu, a helpless father of a woman who is running from pillar to post seeking mercy for her murder-accused husband, in Kamal’s Perumazhakkalam. The actor won another state award (Best Comedian) in 2008 for his portrayal of Shajahan, who gets stuck with a garment exporter, in Sathyan Anthikad’s Innathe Chinthavishayam.
It took the actor a long time to find a role that truly showcased his talents beyond humour, but he finally found it after 42 years in the political action thriller Kuruthi (2021) where he played the ailing yet intrepid and valiant patriarch Moosa Khader. This role brought him the recognition he deserved in the Malayalam film industry. Mamukkoya has also appeared in TV serials, short films, and a few Tamil films.
Today, Mamukkoya has a special place in the hearts of film enthusiasts. He is not only known for his comic timing but also for popularising a dialect and prosody that could have been overshadowed by the Valluvanadan dialect that was widely used by senior writers in Malayalam cinema. Without a doubt, his departure marks the end of an era when actors who primarily played supporting roles carried Malayalam cinema. And to make it clear what this means, Malayalam cinema is what it is today because of the skill and brilliance of such actors.
