There was nobody like Kalpana; there nonetheless isn’t. Will there ever be? I don’t know; I doubt it. She was unparalleled. When her life was cut short by a fateful heart attack in January 2016, Kalpana was simply 51, but she had proved her prowess a number of instances over time.
Ask any legendary director concerning the best energy of Malayalam cinema and they’re going to probably point out, apart from deep-rooted tales, its huge pool of excellent actors who can excel in supporting and character roles. The trade has at all times had such abilities who may simply outshine the lead actors in any film, it doesn’t matter what their character arcs are. From Kottarakkara Sreedharan Nair, Adoor Bhavani, Philomina, Bahadoor and KPAC Lalitha to Thilakan, Nedumudi Venu, Sukumari, Oduvil Unnikrishnan, Bindu Panicker, Sai Kumar, Jagathy Sreekumar, Harmless and lots of others. Even when lead performances falter or the general film is subpar, filmmakers and audiences can belief these thespians to ship, making such motion pictures at the very least value watching.
Amongst such abilities, Kalpana was one of many brightest stars. With a spectacular means to deal with any sort of character with any life journey, whereas at all times assembly the makers’ expectations, Kalpana left a long-lasting affect on the trade and her absence is keenly felt right this moment; or particularly right this moment as her friends like Jagadish, Indrans and Bindu Panicker are lastly receiving exceptional roles, thus breaking free from the stereotypes they have been caught in. Had she been with us right this moment…
Kalpana, born Kalpana Priyadarsini, hailed from a household of artistes. Whereas her dad and mom, Chavara VP Nair and Vijayalakshmi, have been theatre artistes, her sisters, Kala Ranjini and Kavitha Manoranjini, additionally displayed related abilities. Kalpana entered the movie trade as a baby artiste in Vidarunna Mottukal (1977) and appeared in a couple of extra motion pictures in small roles earlier than touchdown her first vital alternative. In 1982, Kalpana performed a key function in ace filmmaker G Aravindan’s Pokkuveyil. Not like the roles she later turned identified for, her character right here, Nisha, was extra critical. Kalpana continued tackling such roles for some extra time, aiming to slowly set up herself and finally change into a number one woman.
In the meantime, her sisters had additionally ventured into present enterprise. Whereas Kala Ranjini acquired solely facet roles, as Kalpana did, Kavitha (who adopted the stage identify Urvashi) shot to fame rapidly. Even earlier than gaining a foothold in Malayalam cinema, Urvashi landed two Tamil tasks —Mundhanai Mudichu and Apoorva Sahodarigal — which propelled her to stardom instantaneously, serving to her bag meatier roles in Malayalam. In a single sense, although by way of no fault of her personal, Urvashi’s rise impacted Kalpana’s prospects of turning into a heroine, as filmmakers started queueing up behind Urvashi since she match the traditional magnificence requirements. Nonetheless, the characters Kalpana acquired in Panchavadi Palam and Ithu Nalla Thamasha demonstrated one factor: she was a pure professional at comedy. Even with out exerting a lot effort, she was in a position to make folks chuckle along with her gestures and dialogue supply. On the identical time, Kalpana additionally proved that she may simply deal with heavy, unhumorous characters too by way of Malayalam motion pictures like Oru Sayahnathinte Swapnam and Tamil motion pictures like Chinna Veedu and Thirumathi Oru Vegumathi. She additionally reprised her function from Chinna Veedu within the Kannada film Chapala Chennigaraya, making her debut there too.
UDC Kumari
Kamal’s Peruvannapurathe Visheshangal (1989) was the primary movie to really showcase her comedic expertise. Regardless of the film that includes many actors identified for his or her dealing with of comedic roles, Kalpana’s efficiency because the harmless and warm-hearted Mohini, who was desperately in search of love, stood out. Her portrayal established that she didn’t must go to nice lengths to tickle folks’s humorous bones. Director Shaji Kailas’ Dr Pasupathy (1990) additional solidified Kalpana’s standing as a gem of an actor with unparalleled abilities, notably as a comedienne. Her efficiency as UDC Kumari was excellent, particularly on condition that Dr Pasupathy too included a stellar forged of comedic actors like Harmless, Jagathy, Kuthiravattam Pappu, Philomina, KPAC Lalitha, Nedumudi Venu, Paravoor Bharathan and Jagadish; and for sure, she gave all of them a run for his or her cash. Together with her impeccable comedic timing and spectacular dialogue supply, amplified by her vivacious facial expressions, Kalpana aced the function of Kumari, a surprising authorities worker giving the boys in her village sleepless nights along with her magnificence, vogue sense and the way in which she owns herself. Kalpana not solely immortalised UDC Kumari as one of many best comedic characters in Malayalam but additionally set a benchmark on how one can deal with comedy subtly with out overtly counting on exaggerated actions when not vital.
Thus, Kalpana turned an nearly quintessential determine in Malayalam cinema and developed because the go-to particular person for filmmakers every time they required a feminine comedic expertise with a capability to ship nuanced performances in supporting roles, as finely as legends like KPAC Lalitha, Sukumari and Philomina. Her roles in Kouthuka Varthakal, Pookkalam Varavayi and Souhrudam additional revealed her versatility, and her on-screen chemistry with Jagathy Sreekumar gained hearts, progressively turning into a staple in Malayalam movies.
Even when sharing the display with legends, Kalpana left a mark in each scene along with her immaculate expertise, and director Sangeeth Sivan’s Gandharvam stands as a testomony to this. In his prime, there weren’t many actors in Malayalam who may outshine Mohanlal, particularly in comedy. Nonetheless, the hilariously epic drama rehearsal scene in Gandharvam, that includes Mohanlal and Kalpana enacting a sequence from the play “Abhijnana Sakuntalam” as Dusyanta and Sakuntala, respectively, proved in any other case. Though Mohanlal was in prime type and no-holds-barred on this scene, Kalpana outperformed him by miles, thus turning it into one of the memorable comedic moments in Malayalam cinema.
In 1995, when Tamil cinema legends Balu Mahendra, Kamal Haasan, Loopy Mohan and screenwriter Ananthu joined forces to create the comedy movie Sathi Leelavathi, they didn’t have to look far to seek out the right particular person to painting the titular function. Kalpana excelled in portraying the emotionally wealthy character of Leelavathi, which supplied her in depth alternatives to discover her performing skills extra deeply, pushing her creative boundaries and venturing into new territories — an opportunity she hardly ever acquired in her residence floor.
In Malayalam, though comedy was her forte, Kalpana made positive to tackle a wide range of roles to keep away from being typecast additional and to open up extra alternatives. Movies like Injakkadan Mathai & Sons, Kabooliwala, Kavadiyattam, Kalippattam, Uppukandam Brothers, CID Unnikrishnan B.A., B.Ed., Pidakkozhi Koovunna Noottandu, Poochakkaru Mani Kettum, Parvathy Parinayam, Avittam Thirunaal Aarogya Sriman, Aramana Veedum Anjoorekkarum, Mannadiar Penninu Chenkotta Checkan, Arjunan Pillayum Anchu Makkalum and 5 Star Hospital additional showcased her means to deal with comedy effortlessly and elevate the standard of the movies, even after they have been sinking.
Within the comedy movie Aalibabayum Aarara Kallanmarum (1998), Kalpana and Jagathy’s on-screen chemistry labored wonders, with each showcasing distinctive performances and nailing each humorous occasion. Although Jagathy is commonly considered one of many best comedians Malayalam cinema has ever seen, Kalpana outmatched him at many junctures whereas they complemented one another properly in the remaining, proving she belonged to the highest league. In movies like Aakasha Ganga, Ishtam and Kannaki, she took on unconventional roles she had by no means tried earlier than. On the identical time, motion pictures reminiscent of Mr Brahmachari, Vismayathumbathu and Athbhutha Dweepu capitalised on her means to ace humour with gestures and dialogue supply.
Director Rajeev Nath’s thriller drama Pakal Nakshatrangal (2008) was one other movie the place she garnered consideration along with her excellent efficiency in a critical, unconventional function. As Raji, a lady who turns into a intercourse employee to outlive after her husband’s suicide, Kalpana proved she was underutilised and that the trade had not but tapped into her full potential. She bolstered this along with her hanging portrayal of a layered, impoverished character battling life’s challenges in director Anwar Rasheed’s phase Bridge within the anthology movie Kerala Cafe (2009).
Though she continued to get roles within the following years, none of them totally explored her expertise. In 2012, Kalpana as soon as once more shocked audiences along with her sturdy efficiency in director Babu Thiruvalla’s Thanichalla Njan as Razia Beevi, a self-sufficient and selfless panchayat member who turns into a guardian to an aged Brahmin lady (KPAC Lalitha) amidst opposition from her neighborhood elders. Regardless of her residence floor overlooking her efficiency, this function earned Kalpana her first Nationwide Movie Award for Finest Supporting Actress. In the identical yr, she delivered one other exceptional efficiency in director Ranjith’s Spirit, enjoying a home employee who endures vital abuse from her alcoholic husband. Kalpana’s efficiency in Diphan’s The Dolphins (2014) additionally gained hearts.
Her function in director Anjali Menon’s Bangalore Days appeared completely tailor-made for Kalpana, permitting her to totally showcase her wide selection of abilities. Initially portrayed as a easy homemaker and mom of Kuttan (Nivin Pauly) residing in a village, her character progressively reveals itself to be a controlling spouse who blames her husband (Vijayaraghavan) for not permitting her to pursue a greater life outdoors the village. When he leaves to hunt a greater life, she lastly realises her goals with Kuttan in Bangalore. There, she slowly embraces the fashionable way of life she at all times needed. Regardless of the narrative’s wanting down upon her only for being formidable, Kalpana poured her coronary heart into the function, capturing each nuance completely.
Her cameo in Ennum Eppozhum (2015) too was hilarious as she performed a pompous politician who pretends to be compassionate however is definitely feudal-minded and mistreats her staff. Her fast shifts between these personas in seconds highlighted her command over her efficiency.
Although temporary, her efficiency as “Queen” Mary in director Martin Prakkat’s Charlie (2015) despatched shockwaves throughout Kerala, as if the state had simply found her immense expertise. Her sharp and flawless portrayal of a lady who had been sexually exploited for years thus contracted HIV, and have become terminally ailing, deeply impacted viewers. Regardless of her restricted display time, her efficiency was hailed as one of the highly effective by a Malayalam actor within the final decade. Moreover, it hit Malayalees more durable as Mary marked considered one of her best and last performances, as she handed away only a month after its launch.
Even after eight years since Kalpana’s passing, every time I watch a brand new Malayalam film that includes a well-crafted middle-aged character, my thoughts instantly wanders off, excited about how she would have portrayed it. That’s the affect she left on me and I’m sure on many, many others as properly.