What is it about a happy or sad memory that stays with you? Is it the actual physical presence that made you happy? Or is it how they made you feel? Thilakan sir’s performance was like that. His voice had the wisdom of a sturdy oak who with Job-like perseverance, kept his dysfunctional family together as he did in Irakal.
It’s the voice of a man trying to keep the stability in his drama troupe in Yavanika. He knows it’s falling apart, and yet he knows the pool of talent is immense and some of them need to be saved.
Thilakan sir was that Karanavar of the crumbling mansion who wanted to hold on to ties and yet welcome change as he did in Veendum Chila Veetukaryangal.
He could pick a fight with his co-actors and yet be sharper than sharp in Harbour or Manjadikuru. He may have had a serious problem with Mammootty, but he would shower his son with love and wisdom in Ustad Hotel. He was like that grandfather who may have hated his son’s temerity but would mollycoddle his own grandchild.
He could be beyond, beyond crazy in Mookilla Rajayathu or Pattana Pravesham. Or just his wily self in the politics of Panchvadi Palan. Thilakan’s strength was his ability to alchemise his inner strength into pure gold- Be it KG George or Padmarajan, or even Sathyan Anthikad.
He’s always big and burns bright; our movies became smaller like our hearts and couldn’t accommodate him.
Also Read: Editor’s Take: Beyond The Burdens of The Past, Looking Back at Tighi