Sreenivasan
Sreenivasan (b. April 6, 1956) is a celebrated figure in Malayalam cinema — actor, screenwriter, director, and producer. Learn about his life, career, key works, and influence.
Introduction
Sreenivasan is one of the most versatile and respected names in Malayalam cinema, known not only for his acting but also for his sharp screenwriting, direction, and production. Since his debut in the late 1970s, he has been a prominent voice in films combining satire, social commentary, and strong character work. His career spans decades, and he continues to shape the Malayalam film industry through his creative contributions.
Early Life and Background
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Birth and Place: Sreenivasan was born on 6 April 1956 in Kuthuparamba, in the Kannur district of Kerala, India.
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Education: He completed his schooling in Kadirur and later obtained a bachelor’s degree in Economics from Pazhassi Raja N. S. S. College, Mattanur.
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He then studied film at the Film and Television Institute of Tamil Nadu in Chennai (Madras).
Career and Achievements
Sreenivasan’s film career is multifaceted: actor, screenwriter, director, and producer. His work is often marked by social satire, irony, and a keen eye on the contradictions of society.
Acting Career
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His film debut was in Manimuzhakkam (1977).
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His first leading role was in Sanghaganam (1979).
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Over the years, he has acted in 225+ films across diverse roles.
Some of his notable acting roles include films like Sandesham (1991), Akkare Akkare Akkare, Thalayanamanthram, Varavelpu, Mazhayethum Munpe, Udayananu Tharam, Njan Prakashan, among many others.
Screenwriting
Sreenivasan is especially acclaimed as a screenwriter. His scripts often combine humor with critical observation of politics, social norms, and middle-class life.
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His first screenplay was Odaruthammava Aalariyam (1984).
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He has written many beloved scripts: Sanmanassullavarkku Samadhanam, Gandhinagar 2nd Street, Nadodikkattu, Pattanapravesham, Varavelpu, Sandesham, Mazhayethum Munpe, Katha Parayumpol, Njan Prakashan, etc.
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He has won several awards for his writing, including Kerala State Film Awards for Best Screenplay, etc.
Direction & Production
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He directed Vadakkunokkiyanthram (1989), a film that won the Kerala State Film Award for Best Film.
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Another notable directorial work is Chinthavishtayaya Shyamala (1998), which won the National Film Award for Best Film on Other Social Issues and Kerala State Awards.
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As a producer, he co-produced films like Katha Parayumpol (2007) and Thattathin Marayathu (2012) under Lumiere Film Company, along with actor Mukesh.
Style, Themes & Influence
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Satire & Social Critique: Many of his films, especially scripts, dissect the politics, hypocrisy, and social dynamics prevalent in Kerala society. Sandesham is often cited as a classic political satire.
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Middle-Class Focus: His characters often represent middle-class life, with its anxieties, aspirations, and contradictions.
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Humor with Depth: He balances comedic elements with moral and social commentary, making his work accessible and thought-provoking.
His collaborations with directors like Priyadarshan, Sathyan Anthikad, Kamal, and others are well known.
Personal Life
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Spouse & Children: He is married to Vimala Sreenivasan.
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They have two sons: Vineeth Sreenivasan and Dhyan Sreenivasan, both of whom are active in Malayalam cinema as actors, directors, producers, etc.
Legacy & Recognition
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Awards & Honors: Over his career, Sreenivasan has received multiple Kerala State Film Awards, a National Film Award, and other honors.
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His films remain staples in Malayalam cinema for their blend of entertainment and social insight.
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Many younger filmmakers and screenwriters cite his work as influential, especially in combining mainstream appeal with critical content.
Noteworthy Quotes
While Sreenivasan is more active behind and in front of the camera than in public speaking, here are a few remarks he has made in interviews (translated or paraphrased) that reflect his sensibility:
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On writing: He has often said that writing is about listening — to society, to hidden voices — and translating that into stories people connect with.
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On satire: He believes satire should provoke thought rather than mock indiscriminately.
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On cinema: He has remarked that Malayalam cinema should strive for both art and reach — the ideal is to do films that communicate widely but have integrity.
(These are more character sketches than exact quotations; his interviews in regional media contain many such reflections.)