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Power utility invites expressions of interest for operators under category C of the scheme for establishing charging stations on land parcels with unrestricted public access. Category C covers charging infrastructure on locations such as city streets, shopping malls, market complexes and highways
2-0 in 2025 elections, can opposition bounce back in 2026?
Following BJP's 2025 victories in Delhi and Bihar, 2026 presents a crucial comeback opportunity for the opposition. Key contests in West Bengal, Kerala, Tamil Nadu, Assam, and Puducherry will test incumbent governments and emerging political forces, with updated electoral rolls adding another layer of intrigue to these significant state elections.
After long wait, TDB starts serving Kerala sadya at Sabarimala
Around 5,000 devotees participate in the free meal programme every afternoon, with a rotating menu of sadya and pulao on alternate days.
Kerala pvt school cancels Christmas event, govt warns against communalisation
Thiruvananthapuram: Kerala government on Sunday strongly condemned reports that some private school managements imposed restrictions on Christmas celebrations and refunded money collected from students for the event. The government also warned that schools would not be allowed to be turned into communal laboratories. Such actions are unheard of in a state like Kerala, which has Get the latest updates in Hyderabad City News , Technology , Entertainment , Sports , Politics and Top Stories on WhatsApp & Telegram by subscribing to our channels. You can also download our app for Android and iOS .
BJP State leadership reportedly faces the difficulty of choosing between veteran grassroots-level party councillors with a Rashtriya Swayamsevak Sangh (RSS) background and a ranking police officer, a political arriviste according to some in the BJP, for the Mayors post
Kerala govt warns against 'communalisation' of schools
Kerala government strongly condemned private schools for imposing restrictions on Christmas celebrations. State General Education Minister V Sivankutty warned that schools would not be allowed to become communal laboratories. He stated that divisive models from North India would not be permitted in Kerala's educational institutions.
Watch: Kerala bids tearful farewell to Malayalam cinema icon Sreenivasan
Kerala witnessed an emotional farewell as legendary actor, screenwriter and director Sreenivasan, one of the most influential figures in Malayalam cinema, was laid to rest with full state honours.
Christmas celebrations in Kerala schools caught in the Sangh Parivars crosshairs, says government
Mr Sivankutty noted that Hindu far-right social media groups targeted Christians by urging educational institutions to desist from celebrating Christmas or face unspecified consequences
The BJPs efforts to replicate the 2024 Thrissur Lok Sabha election fraud model were centred on four Assembly constituencies in Thiruvananthapuram district: Nemom, Vattiyoorkavu, Thiruvananthapuram and Kazhakuttom.
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Malayalam actor-writer Sreenivasan cremated with full state honors
On Sunday, Kerala bid a tearful adieu to the legendary actor, screenwriter, and director Sreenivasan.
Sreenivasan: Kerala bids farewell to a legend
Members of the film fraternity who visited included Parvathy Thiruvothu, Renji Panicker, Sathyan Anthikkad, Jagadish, Prithviraj Sukumaran, among others
Kerala HC sets aside Sabarimala airport land acquisition process
Kochi: The Kerala High Court has set aside crucial stages of the land acquisition process for the proposed Sabarimala greenfield airport, holding that the state failed to properly assess the minimum land actually required for the project. On December 30, 2022, the state government issued an order granting sanction for the acquisition of 2,570 acres Get the latest updates in Hyderabad City News , Technology , Entertainment , Sports , Politics and Top Stories on WhatsApp & Telegram by subscribing to our channels. You can also download our app for Android and iOS .
Political parties in Kerala urge poll panel to extend SIR schedule
THIRUVANANTHAPURAM: Pointing out major inaccuracies in the inclusion of voters in the uncollectable forms category as part of the Special Intensive Revision (SIR) of electoral rolls, majority of the recognised political parties in the state have demanded extension of the SIR enrolment time-frame at least till the end of December to rectify the anomalies and enrol more voters. The demand was raised by representatives of political parties, except the BJP, at the weekly meeting chaired by Chief Electoral Officer (CEO)-Kerala Rathan U Kelkar here on Saturday to review the progress of SIR in the state. Meanwhile, the number of people clubbed in the uncollectable forms category, that also includes those who have been marked as Absent, Shifted or Dead (ASD), stood at 24.08 lakh, Of these, 6.45 lakh are listed as untraceable. While 8.16 lakh have permanently shifted their residence, another 1.60 lakh fall in the others category. Kelkar clarified that the others category includes people who have refused to accept or return the enumeration forms. The number of voters who have been marked as dead or duplicate entries are 6.49 lakh and 1.36 lakh respectively. Meanwhile, political party representatives cited numerous instances to show that many people were erroneously listed as untraceable or Enrolment Form refused. They also said that hundreds of voters were included in the ASD category in many booths located in Thiruvananthapuram and Kollam districts.
Special poojas, vedic recitals mark 31st day of murajapam at Sree Padmanabhaswamy temple
THIRUVANANTHAPURAM: Special poojas were conducted and offerings made to mark the 31st day of murajapam ritual at the Sree Padmanabhaswamy temple here on Saturday. As part of the ritual held once every six years, vedic scholars also recited devajapam and sookthajapam to mark the occasion. The temple was decked up to mark the occasion. Pooyam Tirunal Gouri Parvathy Bai, Aswathi Tirunal Gouri Lakshmi Bai and Aditya Varma of the erstwhile Travancore royal family visited the temple during the vedic recital and offered dakshina to priests. Swami Satyatma Thirtha of Uttaradi Math, who visited the temple, was received with a poornakumbham. Governor Rajendra Arlekar and his wife also accompanied the swami during his visit to the temple. The spiritual leader who delivered a sermon on the occasion was presented with a traditional onavillu by thantri Brahmashree Satheesan Namboodiripad. The swami later lit the lamp at the Vedamandapam of Atharva Veda Bhavgavan located outside the northern nada of the temple. Satheesan Namboodirpad, temple executive officer B Mahesh and other senior functionaries were present on the occasion. Later, Swami Satyatma delivered a sermon on the banks of the Padmatheertham pond where the jalajapam ritual was being held. Devotees paid respects to the spiritual leader on the occasion. Temple authorities said that sreebali will be conducted at 8.30 pm on Sunday to mark the conclusion of the fourth murajapam. The idols will be taken out on a procession on a pallinilavu vehicle as part of the ritual.
Kerala Lok Bhawan observes Goa Liberation Day
THIRUVANANTHAPURAM: Goas liberation from the clutches of Portuguese through Operation Vijay marked a highpoint in the feeling of patriotism and nationalism in the country, said Governor Rajendra Arlekar. He was speaking after felicitating 24 families of the state who participated in the Goa Liberation movement of 1961. The governor said that it took nearly 14 years since Independence for Goa to be formally integrated in the Indian Union. Indias Independence of 1947 remained incomplete until Goas integration in the Indian Union. People from all parts of the country cutting across the region, language and community participated in this glorious movement. Collective aspirations of the people that put pressure on the Centre ultimately paved the way for the Liberation of Goa, Arlekar said. By honouring the freedom fighters who participated in the Liberation of Goa, we are recognising the great patriots contributions and transmitting the cultural underpinnings of the freedom movement to percolate into every layer of society, he said.
Auto driver alleges police assault in Mannanthala; officers deny charge
THIRUVANANTHAPURAM: Alleging that he was brutally assaulted by police personnel of Mannanthala station, a 46-year-old autorickshaw driver has raised a complaint. The complainant, Dastakeer, a native of Nalanchira, alleged that he was beaten up by the police initially at his house and later at the police station on Friday. He claimed that he was taken to the station and moved to an area without CCTV and beaten up on his back and thighs. Dastakeer, who is diabetic, also claimed that he was not even given drinking water. However, the Mannanthala police denied the allegations. They said Dastakeer was a habitual drinker and troublemaker, and that his wife had informed the station early on Friday after he consumed alcohol and created a ruckus at home. The police said he suffered injuries when he tried to escape on seeing the police team at the spot. Dastakeer, who was injured, is undergoing treatment at the General Hospital. He alleged that there are around 20 injury marks on his back and that he is unable to even sit due to the severity of the injuries. He was released on bail on Friday evening after the owner of the autorickshaw arrived at the station and later took him to the hospital. While no formal complaint has been filed so far, Dastakeer has said he plans to submit a complaint at the Police Commissioners office on Sunday. An inquiry is expected after a complaint is received.
Kochi-Kottayam NH corridor: NHAI directed to study feasiblility
KOCHI: In a significant move towards modernising Keralas road infrastructure, Union Minister for Road Transport and Highways Nitin Gadkari has directed the National Highways Authority of India (NHAI) to evaluate a proposed National Highway corridor connecting Kottayam and Kochi, with a strategic link to the upcoming Angamaly-Kundannoor bypass. The decision follows a draft report earlier submitted by Kottayam MP Adv K Francis George, highlighting the urgent need for a high-speed alternative to the heavily congested existing routes. The minister promised that the NHAI will conduct a feasibility study for the proposed corridor. To minimise environmental impact and social displacement, the proposal emphasises elevated corridors over agricultural zones (paddy fields) to protect natural water flow and farming. Gadkari told me that a direction to this effect has been handed over to the NHAI, Francis told TNIE . The draft proposal outlines a 60-km greenfield spur road designed to alleviate the massive traffic volume between Kottayam and Kochi, which currently exceeds 90,000 Passenger Car Units (PCUs) daily. The starting point of the corridor is planned at Mulankuzha near Kottayam on NH 183. The route will pass through the tourism and agricultural hubs of Kumarakom and Vaikom. It will reach Tripunithura, where it is slated to connect with the Angamaly-Kundannoor bypass. By linking directly to the Angamaly-Kundannoor bypass, the corridor will effectively provide a high-speed connection from central Travancore to the Cochin International Airport and the northern stretches of NH 544. Currently, the journey from Kottayam to Tripunithura via traditional routes takes approximately 2.5 hours during peak times. The new corridor is expected to slash this travel time to just one hour.
LDFs bond with Muslim community goes beyond poll results, says Kerala CM Pinarayi
THIRUVANANTHAPURAM: Amid criticism of the CPMs significant losses in the local body polls in Malabar, particularly in Malappuram, Chief Minister Pinarayi Vijayan has said the LDFs relationship with the Muslim community cannot not be judged solely on the basis of electoral outcomes. He made the remarks while inaugurating the reception to the Samastha Kerala Jem-iyyathul Ulamas Sandesa Yatra, organised as part of the Sunni Muslim bodys centenary celebrations. The yatra, which began in Nagercoil on December 19, is scheduled to conclude in Mangaluru on December 28. Assuring that his government is committed to addressing the concerns of the minority community, Pinarayi said its decade-long record demonstrates its sincerity. Samastha has a responsibility to stand with the Left when we confront communal forces. You must recognise the attempts of forces to mislead and communalise the minority community. Pinarayi stressed that the Muslim community must understand that opposing minority communalism does not equate to opposing religious belief. Congress leader K Muraleedharan, Samastha Kerala Jem-iyyathul Ulama president Sayyid Muhamad Jifri Muthukoya Thangal, Santhigiri Ashram general secretary Swami Gururathnam Jnana Tapaswi were among those who addressed the gathering.
'Sreenis films reflected his distinct individuality': Actor Vijayaraghavan
Sreenivasan was an honest person who always stayed true to himself. He had the rare courage to speak the truth. Embodying a unique personality, he never hid or covered up his feelings and thoughts, even if they were brutal. His way of presenting and addressing issues was different, and that made him and his work special and stand out. Sreeni was widely respected within the industry, and his death is a great loss to Malayalam cinema. He is an irreplaceable figure in the industry. To me, Sreeni was much more than a fellow artist. Our friendship extended far beyond our films. We remained close friends, and our conversations were never limited to cinema or acting -- extending to many other things in life. About a year back, I visited him at home after he was discharged from hospital. We spent a long time talking, discussing everything under the sun. I was surprised to see how sharp he still was. Even while dealing with health issues, he remembered everything and stayed keenly aware of what was happening around him. It surprised me. We shared a strong bond, and I will miss a good friend. Thank you for Everything: Malayalis bid adieu to Sreenivasan His approach to cinema and language was unique. There was a distinct individuality in his work, especially in the way he created satirical films that continue to be discussed even today. He had the courage to make films that very few filmmakers dared to attempt. I loved those films. My father also wrote plays in a similar way, which is why I felt deeply connected to Sreenis screenplay and cinema. Most stories, penned by other writers, go through alterations. But with Sreenis scripts, that was impossible. Audiences will understand the difference. Every word had purpose. As an actor, too, he was highly versatile. His performances had a caricature-like quality, enriched with minute detailing in terms of expression and movement. His passing is a huge loss, not only to the Malayalam film industry but also to me personally.
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Swearing in of Thiruvananthapuram corporation councillors today
THIRUVANANTHAPURAM: A week after the declaration of results of the city corporation elections , the BJP which emerged as the single largest party is gearing up to announce its mayoral candidate by Wednesday. The delay in the announcement, with multiple contenders in the fray, has triggered discussions and criticism in political circles. The oath-taking ceremony of the newly elected councillors will formally mark the beginning of the new councils term on Sunday, while the election to the post of mayor is scheduled for December 26. The BJPs thumping performance in the polls has placed it firmly on the threshold of power. The party won 50 of the 101 wards, falling just one seat short of an absolute majority. The LDF was reduced to 29 wards, while the UDF secured 18 seats. Two wards were won by independent candidates, both of whom have suddenly assumed political significance. With the BJP requiring the support of at least one more councillor to stake an undisputed claim to power, the independents have emerged as key players. Their stand, along with the outcome of the postponed election in the Vizhinjam ward, is expected to be crucial in shaping the final balance of power in the council. BJP Thiruvananthapuram Central district president Karamana Jayan said discussions to finalise the mayoral candidate would begin on Monday after the swearing-in ceremony. We have strong contenders for the post and we will officially announce the mayoral candidate by Tuesday or Wednesday. Comprehensive development of the capital will be our key focus, he said. Karamana Jayan also added that Prime Minister Narendra Modi would visit the capital soon, as promised. Both the BJP and the UDF have ruled out any tie-up in view of the imminent assembly elections. UDF leader K S Sabarinath, who will take oath as the councillor from the Kowdiar ward, said that the UDF would fight for good governance in the corporation. We are not looking at joining hands with the LDF. We will wait for the Vizhinjam ward election to be completed and assess the situation, he said. Meanwhile, LDF councillor S P Deepak said the Left front has no plans to align with the UDF. We will function as a strong opposition and ensure that ongoing welfare and development activities continue, he said.
O special one! Hundreds pay tribute to Sreenivasan
KOCHI: Malayalam film industry came together on Saturday to pay rich tributes to actor, screenwriter, and director Sreenivasan, whose satirical films reshaped popular cinema. Fans, film lovers, artists and filmmakers gathered in their hundreds at the Town Hall in Kochi -- where his body was kept for public homage from 1 pm -- to pay their last respects to the actor-screenwriter whose films made generations laugh. The ceremony, which was scheduled to conclude by 3 pm, was extended to 3.30 pm. After visiting the grieving family at their residence in Udayamperoor, near Tripunithura, actor Mammootty came to see his friend for one final time. For Mohanlal, the loss was huge, for Dasans Vijayan had left. Though it was a painful moment, Mohanlal consoled Mammootty on his arrival.For more than an hour, the big Ms of the Malayalam film industry sat beside the departed artist, their Sreeni. Chief Minister Pinarayi Vijayan, Minister for Cultural Affairs Saji Cherian and Minister for Industries P Rajeeve offered respects on behalf of the state government. At one corner, two childhood friends, Azeez and Rafeeq, were discussing Sreenivasans films. I watch Sandesam, Thalayana Manthram, Kilichundan Maambazham, Ponmuttayidunna Tharavu and other Sreenivasan films even now. These films are now available on YouTube. So I watch, Rafeeq told Azeez. The Kochi residents were regular moviegoers back in the 1980s and 1990s. We have watched most of his films in cinemas. His stories and characters are still there in our minds. But we rewatch them whenever possible. His characters were very relatable for us, Azeez added. In fact, almost everyone there had something special to share about his stories and films. For the industry, the passing of an artist who has contributed to the growth of Malayalam films is an irreparable loss. Chief Minister Pinarayi Vijayan pays tribute on behalf of the state government at Ernakulam Town Hall on Saturday.
Sreenivasan: The goat of satire
THIRUVANANTHAPURAM: How political was he? Or apolitical for that matter. Veteran writer- actor- director Sreenivasan 's political screenplays traverse mostly through wafer-thin margins of both the political and apolitical, even at times, merging the two. A master storyteller, he succeeded in capturing the subtle hues of the Malayali psyche via his scripts that almost always reflected Kerala society in its entirety, through a career that spanned almost five decades of stellar creative output. As an untiring champion of social satire, political criticism and creator of unadulterated humour, Sreenivasan mirrored the Malayali community of the 70s and 80s, with all its vulnerabilities, pettiness, honesty or the lack of it through his blockbuster scripts. Be it his first Mazha Peyyunnu Maddalam Kottunnu , the widely popular trilogy of Nadodikkattu , Pattana Pravesham, Akkkare Akkare Akkare spread over three years, his screenplays encapsulated storylines that never failed to question the societal convictions of the day. Sandesam , one of his most popular screenplays ever, could well be the rebelliousness of a societal spectator, fed up with the existing system. Contrary to popular perception it was not mere Left bashing or revving up anti-Communist sentiments that Sreenivasan often indulged in. The astute political commentator that he was, Sreenivasan preferred to take a bird's eye view at the sore lack of inner political conviction that often runs as a leitmotif through Kerala society, cutting across all classes. Laced with vibrant political undertones, Sreenivasan's scripts often shed light on a wide variety of topics. Who can ever forget the clipped arbitrary hint of threat hidden within Polandinekurich Oraksharam Mindaruth , an evident reference to the setback faced by Communists in Poland. The ease with which he incorporated a slice of international politics into the socio-cultural-political machinations of a Kerala neighbourhood, stands testimony to his brilliance as a scriptwriter. Sreenivasan exposed pretensions of Malayalis through his satirical movies Exposing the Malayali's innate farcical hypocrisy and in-built contempt for anything and everything around him, Sreenivasan zeroed in on the deep-rooted prejudices and complexes of the Malayali psyche. In a way Sreenivasan, whose dialogues have become ingrained in the minds of Malayalis across the globe, created a kaleidoscope of frames that captured the whole of Kerala society's idiosyncrasies back in the day. Be it the Gulf migration of the 80s and 90s, spiralling unemployment, the typical work-shy youth of the times, their intricate social complexities, lack of political conviction...the list seems endless. Sreenivasan chose to tread a path that differed distinctly from many established writers, be it the legendary M T Vasudevan Nair, widely popular T Damodaran, or the mystic Padmarajan. His cinematic scripts chose to turn the searchlights on the shattered hopes and dreamy future aspirations of the burgeoning Malayali middle class. The average Malayali was ever his faithful audience, the ones he took up his pen for. How would an average Malayali remember him? Sreenivasan could well remain as the master of subtle humour for Malayali movie lovers in the years to come. LIFE AND TIMES OF A LEGEND 1956: Born on April 6 at Pattiam near Thalassery, Kannur 1976: Film debut Manimuzhakkam , directed by P A Backer 1977: Enrolled in Film and Television Institute of Tamil Nadu, Chennai 1979: First lead role in move Sanghaganam by P A Backer 1984: Debut as writer in Odaruthammava Aalariyam by Priyadarshan. Also married Vimala. 1989: Debut as director with Vadakkunokkiyanthram , which he also wrote himself 1998 - Won national film award for best film on other social issues for Chinthavishtayaya Shyamala Career highlights 1976 Manimuzhakkam 1977 Sneha Yamuna 1980 Mela 1984 Odaruthammava Aalariyam(also writer), Panchavadi Paalam, Akkare 1985 Mutharamkunnu PO (also writer), Punnaram Cholli Cholli (also writer), Aram + Aram Kinnaram (also writer) 1986 T P Balagopalan MA (also writer), Sanmanassullavarkku Samadhanam (also writer), Oru Katha Oru Nunnakatha (also writer), Dheem Tharikida Thom 1987 Nadodikattu (also writer) 1988 Pattanapravesham (also writer) 1991 Sandesam (also writer) 1993 Midhunam (also writer) 1994 Thenmavin Kombath 1996 Kalapani 2003 Kilichundan Mampazham (also writer) 2007 Arabikkatha 2011 Traffic 2018 Njan Prakasan (also writer)
A comeback dream that was not meant to be...
KOCHI: Sathyan Anthikad had spent the entire Saturday morning with the grieving family. Sitting next to the mortal remains, while the public paid homage, he broke down, as fellow mourners struggled to console the filmmaker. For Anthikad, Sreenivasans demise was a personal loss. He had lost one of his closest friends. We shared a close bond. I used to visit him every two weeks to rejuvenate him. He had been suffering from various ailments for several months. But I never thought he would leave us, Anthikad told reporters. His brain remained sharp... and he was aware of everything. Recently, he told me he felt exhausted. But I reassured him that it was just a phase, and that we would make a comeback... Anthikad did not complete the sentence as he walked away with tears in his eyes. The two first collaborated on Gandhinagar 2nd Street , which was released in 1986. Sreenivasan wrote the screenplay and also played the role of Madhavan. Most of the films the duo came up with, including Nadodikkattu (1987), Varavelpu (1989), Thalayanamanthram (1990), and Sandesam (1991), were hits. These were not merely comedies but flicks that portrayed the lives of common people. In interactions with media, they both spoke about how Sandesam was received by audiences and about the anonymous letters they used to receive. Sreenivasan exposed pretensions of Malayalis through his satirical movies Anthikad trusted Sreenivasan, who was permitted to write dialogues and screenplays even on film sets. When Sreeni and I work on scripts, it makes my job easier, Anthikad had recalled earlier. The friendship grew, appreciating, criticising and correcting each other. In 2018, they came up with their last film together, Njan Prakashan , with Fahadh Faasil, which was another hit. The other films that were the result of the collaboration are: Sanmanassullavarkku Samadhanam (1986), T P Balagopalan M.A. (1986), Sreedharante Onnam Thirumurivu (1987), and Golanthara Vartha (1993). As years passed, Sreenivasan expressed his wish to do another film with Anthikad and Mohanlal. A project was even in the pipeline. That dream, as it turned out, will remain just that.
He refused to write about what he did not believe in: Madhupal remembers Sreenivasan
I first met Sreenivasan on the sets of Samvalsarangal in 1985-86. The shoot was in Ernakulam. Back then, I was not part of the film industry as an actor. I was just a cinema lover, someone who went to film sets driven purely by passion, trying to understand how cinema worked. It was a phase when love for cinema alone could take you to any set. What I saw then was a man constantly on the move, running from one set to another -- an extremely busy Sreenivasan. Even at that time, his perspectives were very different. He looked at issues in ways most people wouldnt even think of. Despite his hectic schedule, he spoke to ordinary people without any hesitation. For me, every conversation with Sreenivasan felt like reading a new book. I became closer to him during Vadakkunokkiyantram . From then, I noticed that every line he spoke could only have been spoken by Sreenivasan. The reason was simple: he observed only those who stood firmly on the ground. His life was with them, the common people, and he travelled their paths. Sreenivasan never wrote about anything he did not know. If he felt a story would not work as a film, he would simply drop it. The rest of us might still try, thinking about the advance money involved. But Sreenivasan never worked that way. If he felt something wouldnt work, he never wrote it. He did only what gave him complete satisfaction. That is why films he made even 20 years ago are still alive, finding space even in the trolls of the younger generation. His dialogues connect instantly with people because they come straight from lived experience. Sreenivasan always walked with the people. He was a writer who lived among them and understood them deeply. That is why, whether it was Sandesam or any other film, he never wrote about anything unfamiliar to him. After my film Thalappavu , producer S C Pillai came to meet me, saying he had come on Sreenivasans suggestion. They wanted to make a film with Sreenivasan as the hero. I told them honestly that I could not make a film suiting Sreenivasan on my own. I said I would do it only if we could develop a story together through discussions. A few days later, Sreenivasan called me, laughing loudly. I had earlier told him a lie, that I had tried calling him but couldnt get through. He immediately caught me out. I then told him the truth: I wasnt sure if I could make a film that suited him. Laughing, he asked me, Am I such a big actor? That was Sreenivasan -- simple, ordinary, and completely without pretence. He may have left thousands of stories unwritten, but he wrote only what he was sure of. (As told to Jose K Joseph)
Sreenivasan exposed pretensions of Malayalis through his satirical movies
KOCHI: Born into a middle class family in Kannur, Sreenivasan had the opportunity to witness the absurd, farcical ideologies and the pretensions of lo cal-level leaders who tried to impose their progressive thoughts on society. The film Sandesam , a political satire written by Sreenivasan and directed by Sathyan Anthikkad in 1991, humorously depicts the clashes between two brothers supporting two ideologically different political parties. The movie remains relevant as it highlights how politics divides families and societies. The dialogues of Kumara Pillai, the ideological guru of the Left party, who makes a critical evaluation of the partys defeat in an election, still fills social media pages with trolls and memes during every election. The dialogue We allow inner party democracy. But you should not question our theoreticians. If you dont follow party discipline, we will teach you continue to resonate in the political sphere. Prabhakaran the politician who visits the house of a prospective bride for a pre-wedding meeting asks whether she is ready to work for the liberation of the working class. He says, The wife of a revolutionary should be ready to meet any consequence and should be ready to face bullets. Sreenivasan had the unique talent to present the trials and tribulations of the middle class families with a touch of humour. While Sandesam portrayed the dark side of factional politics and political rivalry, Varavelppu exposed how trade unions and bureaucracy are jeopardising the lives of youngsters who invest their lifetime savings to earn a livelihood. The story of Varavelppu , which portrays the miseries of a Gulf returnee who starts a bus service, is based on the life of his father. 'He came to play an orphan': Hero of Sreenivasans first film remembers him Sreenivasan held a mirror to society, exposing the pretensions, inferiority complex, and the struggles of the middle class Malayali. As a writer, he was well aware of his limitations and never hesitated to ridicule his own faults and appearance. For the common man, he was a neighbour who understood their struggles to stay afloat. His writing was simple and sharp in its criticism of the hypocrisy and hostility of politicians and the erosion of civility in society. In Vadakkunokkiyantram , he portrays the sense of insecurity and inferiority complex of an unattractive youth who gets married to a beautiful woman and fears that she may desert him. In Chinthavishtayaya Syamala , he plays the role of a school teacher who does not love his profession but searches for shortcuts to become wealthy. The character Vijayan Master is an atheist, but once he goes on a pilgrimage to Sabarimala, he turns an ascetic. When the family pleads with him to end the penance, he asks, Do you mean devotion is seasonal? Films written by him, like T P Balagopalanm MA, Gandhinagar Second Street, Sanmanassullavarkku Samadhanam, Nadodikattu, Vellanakalude Nadu, Mukundetta Sumitra Vilikkunnu, and Pavam Pavam Rajakumaran, sketch the struggles of unemployed youth who continue to dream about a peaceful life while scrambling to face the harsh realities of life. In the film Anaval Mothiram , he plays the role of a lazy and coward police officer who becomes brave and reckless when a blood test reveals that he is suffering from leukemia. In Bhagyavan , directed by Suresh Unnithan and written by C Radhakriswhnan, Balu, the character portrayed by Sreenivasan, goes into hiding as people fight to get him as a guest. An astrologer says that Balu has a unique feature called labhya Labhyasree in his horoscope due to which his presence can bring good fortune to others. He has also characterised villain roles, like Appakkala of Thenmavin Kombathu , Moosa of Kaalapani , Maruthu of Oru Maravathur Kanavu , Bhargavan of Narendran Makan Jayakanthan Vaka , and Moideenkunju Haji of Kilichundan Mampazham . In Traffic and Passenger , he portrayed the roles of a commoner who turns hero in challenging situations.
East Hill Road, where iconic road roller scene was shot, mourns the loss of Sreenivasan
KOZHIKODE: As Kerala mourns the passing of veteran actor-filmmaker Sreenivasan on Saturday, for the residents of East Hill in Kozhikode, he will always be remembered was the man who turned their quiet neighbourhood into a lasting landmark of cinematic history. While the film fraternity honours his sharp satire and literary brilliance, the people of East Hill hold a special place for him as the creator of one of Malayalam cinemas most iconic comedic moments. The legendary scene from the film Vellanakalude Nadu , in which the late Kuthiravattom Pappus character famously struggles with repairing a road roller while uttering the now-immortal Thamarassery Churam dialogue, was shot on the Chungam-East Hill road. Even decades later, the location remains an unofficial pilgrimage site for film lovers. It has been more than 35 years since the film, but people still stop here when they pass by and take photos, says Thankamani Kammiliparambathu, whose house was used heroine Shobanas home in the film. Recalling Sreenivasans humility and dedication, Thankamani remembers the day the filmmaker arrived at her doorstep. Sreenivasan came to our house and directly asked if the house could be used for shooting. He visited two or three times after that and stayed here for around a month to write the script and shoot the scenes. Later, our house was used in Aye Auto also. But it was the Thamarassery Churam scene in Vellanakalude Nadu that became a super hit, she said. The family offered their home free of cost, a gesture that allowed them to share space with legends such as Mohanlal, Murali, and Kuthiravattom Pappu. That scene gave our home -- and this area -- its own identity, Thankamani says with pride. For local residents, Sreenivasans legacy is etched into the very geography of their daily lives. From the road roller spot to the nearby East Hill junction, which served as a location for the popular film Sandesam, the neighbourhood feels like a living museum of his work. To the people of East Hill, Sreenivasans legacy is woven into our streets and sorroundings, forever linking our homes to the timeless laughter he gifted the world, says Narendran Cholakulangara, a septuagenarian resident. As Sreenivasan is laid to rest, his spirit continues to live on in East Hill.
'A rare gem, a true human': filmmaker Rajeev Kumar remembers Sreenivasan
Its a deeply personal and irreparable loss for me. We worked together in the 2010 film Oru Naal Varum, which was a fulfilling collaboration. I first met Sreenivasan on the sets of the 1984 film My Dear Kuttichathan. We shared a profound moment that marked the beginning of our friendship. Sreenivasan was a true human being, whose films consistently reflected humaneness, political consciousness, and social responsibility. For him, cinema was not just a profession, it was a passion. A sincere and committed artist, he was a rare gem. Unlike many celebrities, Sreenivasan never lived or wanted to live a life of public display. He always led a very simple life, never wanting to leave his hometown. Because of this simplicity, he was able to portray honestly the mediocrity and realism of everyday human life. I still remember an incident that revealed his modesty and integrity as a filmmaker. Its about the 1998 film Chinthavishtayaya Shyamala, directed by Sreenivasan. A crucial element of the story was inspired by a conversation we had on a visit to the sets of Kalapani. While the story itself was original, an important element -- where the protagonist was advised to go to Sabarimala temple -- was drawn from something I said during that conversation. Sreenivasan had personally called me before he started filming Chinthavishtayaya Shyamala to let me know that this idea was inspired by our conversation. I myself had forgotten about it. That was the kind of person he was... simple, honest, and always ready to acknowledge others. (As told to Gadha KB)
Five held for alleged abduction of passenger from airport premises
Clear vote-share lead in Ernakulam district panchayat makes UDF dominance evident
The UDFs vote share reflects the sweeping victory the front scored in the local body elections, winning 25 of the 28 seats, while the LDF was restricted to the remaining three
An irreplaceable friendship that defined my life and cinema: Mukesh remembers Sreenivasan
Veteran actor and MLA Mukesh on Friday shared deeply personal memories of his 43-year-long relationship with actor, screenwriter and director Sreenivasan, who passed away on Saturday, calling him irreplaceable both in cinema and in life. When I started my career, I never dreamed of stardom but the only desire was to be around great minds, share jokes and carry those moments back home. Looking back today, what gives me the greatest happiness is not success or longevity, but the joy of sharing love, humour, thoughts and observations with the people around me. In that journey, Sreenivasan played the most important role, said an emotional Mukesh. Mukesh recalled meeting Sreenivasan during the filming of Odaruthammava Aalariyam, directed by Priyadarshan. At the time, Priyadarshan reportedly had reservations about Mukesh, seeing him primarily as a theatre actor. It was Sreenivasan who openly vouched for him. Sreeni told Priyan clearly that he was mistaken. He belongs here. He has the wavelength. A few days later, Priyan put his arm around my shoulder and admitted he had misunderstood me. That moment shaped everything that followed, Mukesh recalled. Describing Sreenivasans personality, Mukesh said he was uncompromisingly honest - someone who would praise without hesitation, criticise without fear, and walk away silently if he felt a situation was wrong. One of the most cherished memories Mukesh shared was how Sreenivasan transformed a deliberately bad joke from his college days into one of Malayalam cinemas most iconic comic moments. The joke - about an old man mistaking a barber shop for a hotel - later found its way into Vadakku Nokki Yanthram. He personally called me late one night to seek permission before using it. To turn the worst joke in the world into something that makes audiences burst into laughter - only Sreenivasan had that genius, he said. Their creative partnership later extended into production as well. Mukesh recalled suggesting that they jointly produce a meaningful film that would stand as a milestone. That idea eventually became Kadha Parayumbol. When Sreeni narrated the story to me at a wedding, it brought tears to my eyes. I told him this film should define friendship - not just in Kerala or India, but anywhere in the world. Mammootty listened to the story and offered to act without remuneration. Kadha Parayumbol went on to be remade in multiple languages, carrying its simple yet powerful message of friendship far beyond Malayalam cinema, said Mukesh. Mukesh described Sreenivasan as a man shaped not by formal education, but by life itself - by his understanding of friendship, poverty, politics and human dignity. It is impossible to replace someone who has lived, observed and created like him, he said. Recalling his last conversation with Sreenivasan, Mukesh said it took place just a day before his death. Sreenis wife Vimala teacher called me regarding an old document. She told me he had fallen and injured his leg. I would have visited him one of these days. I lost someone truly irreplaceable, he added.
Sreenivasan turned Thrikkarippur into a theatre hub
Singapore tourist held for filming inside Padmanabhaswamy temple using camera-fitted glasses
Temple security personnel noticed the camera-equipped glasses and promptly intercepted Thiruneepanar, who was later handed over to Fort police
Court grants anticipatory bail to director Kunju Muhammad in molestation case
Case against director following complaint that he had allegedly molested a woman at a hotel where they were staying to select Malayalam films for IFFK
Cultural resistance required to protect Constitution and democracy: Kerala CM
The Citizenship Amendment Act and the idea of One Nation, One Election are attempts to destroy federalism, the Chief Minister alleges in his inaugural address at the Indian Cultural Congress 2025, organised by the Department of Culture, in Kochi
Law commission chief calls for Indianisation of legal system
At talk at Lok Bhavan, he says it is high time that the Indian justice delivery system is overhauled, making it Bharatiya
Two from West Bengal held with 37 kg of suspected ganja
They had allegedly trafficked the suspected narcotic item from Odisha to Aluva by train
Qadir Ali Baig Theatre Festival was a melange of cultures and artistes
Hyderabad: Picture actors from Norway and Malaysia mingling with performers from Assam, Maharashtra and Kerala. Add playwrights from France and Telangana, musicians from West Bengal and Karnataka, all converging on a single platform in Hyderabad. That was the Qadir Ali Baig Theatre Festival. Now in its 20th year, Telanganas annual theatre festival continues to captivate Get the latest updates in Hyderabad City News , Technology , Entertainment , Sports , Politics and Top Stories on WhatsApp & Telegram by subscribing to our channels. You can also download our app for Android and iOS .
DSU swearing-in event at CU: UDSF seeks action against violation of rules
Thrissur to host 64th Kerala School Arts Festival
Five-day extravaganza to be held from January 14 to 18 across 25 venues with competitions in 239 items
All eyes on Independent collective at Pala
After the oath-taking, the collective plans a Janasabha to assess community support before finalising its political stance, amid speculation of a possible alliance with the UDF.
Walayar mob lynching: rights activists allege bid to trivialise crime, demand 25 lakh compensation
Protest meeting in Thrissur calls the killing of Chhattisgarh native Ram Narayan a chilling reflection of growing Islamophobia in the State
Majority and minority communalism have to be resisted, says Kerala CM
He spoke at a reception organised for Samastha Shatabdi Sandesh Yatra, led by Samastha Kerala Jamiyyathul Ulama president Syed Muhammad Jifri Muthukoya Thangal, at Putharikandam Maithanam in Thiruvananthapuram
Swearing-in of local body members in Kollam
705-crore ICWF funds unutilised for Indians abroad: Kodikunnil Suresh
In 2020, ICWF spending stood at 128.98 crore. This dropped drastically to 23.27 crore in 2021
Fire guts plastic recycling unit at industrial area in Thalassery
The fire occurred at City Plastic, a facility employing several workers
Kerala local body polls: LDF leads in vote share of fronts in Thiruvananthapuram district
The LDF received 37.27% of the votes in panchayats, compared to the UDFs 35.30%, while the BJP-led NDA got 21.59%. In the Thiruvananthapuram Corporation, the NDA won 34.52% of the votes and 50 seats, but the LDF captured a marginally higher vote share of 34.65%.
Samastha's 100th annual international conference to be held in February
K.C. Venugopal, Kodikunnil Suresh condole death of Sreenivasan
Gen Z and the fading Christmas, New Year card tradition
Vendors selling Christmas cards in Kozhikode are no longer able to drive sales as they once did, as a significant shift in gifting habits has occurred due to the generational gap
Researchers at Cusat granted patent for advanced digital evidence fingerprinting system
The system reportedly strengthens conventional digital evidence hashing techniques by integrating multiple security parameters
BJP in Kollam moves from the margin to the mainstream
Supplyco Christmas-New Year fairs begin on Monday
Kerala CM, Mammootty, Mohanlal, Rajinikanth, Kamal Haasan Pay Glowing Tributes To Sreenivasan
Chief Minister Pinrayi Vijayan said the passing of Sreenivasan is an irreplaceable loss for Malayalam cinema: Reports
Three indigenous duck varities stage a return to Kuttanad wetlands
The Vigova, Kuttanadan Chembally, and Snow White varieties make a comeback after last years bird flu outbreak. The Duck Hatchery and Training Institute in Manjadi is supplying nearly 2,000 one-day-old ducklings weekly to farmers across Kerala.
The Hindu Journalist wins award
Munnar records -1C, tourism sector eyes big push
Temperatures touch 0 C in Chenduvarai, Silent Valley, Letchmi, Devikulam and at Nallathanni on Saturday morning
Flower fest, light show to begin in Thiruvananthapuram on December 24
The fete is curated by Jawaharlal Nehru Tropical Botanical Garden and Research Institute, Palode
Election campaign materials litter Kochi despite government circular, High Court directive
Circular issued by Local Self-Government dept. stated that if candidates/parties failed to comply, local body secretaries should remove the materials and cost collected from candidates
Cop who slapped pregnant woman suspended a year after the incident
A police inspector in Kerala was suspended a year after he pushed and slapped a pregnant woman inside a police station in Kochi, an incident that highlights police brutality and violence against women. Closer circuit television (CCTV) footage released online showed Inspector KG Prathap Chandra assaulting a pregnant woman inside the Ernakulam North police station Get the latest updates in Hyderabad City News , Technology , Entertainment , Sports , Politics and Top Stories on WhatsApp & Telegram by subscribing to our channels. You can also download our app for Android and iOS .
Fresh PIL in SC seeks law on menstrual pain leave for women
NEW DELHI: A fresh Public Interest Litigation (PIL) has been filed in the Supreme Court seeking directions to the Union of India, States and Union Territories to frame laws or policies recognising the problems faced by women during menstrual pain and to provide necessary relief, including the grant of leave, in consonance with Articles 14 and 21 of the Constitution. The PIL has been filed by lawyer Shailendra Mani Tripathi, who has urged the apex court to intervene and address what he described as a legislative and policy vacuum affecting working women and female students. Issue directions to fill in the lacunae that exists regarding grant of relief in the nature of leave etc, to the working women & female students under exercise of power under Article 32 read with Articles 14, 21 and Articles 141 and 142 of the Indian Constitution, the PIL said. Tripathi highlighted in his plea that several private Indian companies have already introduced paid menstrual leave for their female employees. These include Ivipanan, Zomato, Byjus, Swiggy, Mathrubhumi, Magzter, Industry ARC, FlyMyBiz and Gozoop. He also pointed out that the Kerala government has granted menstrual leave to students in State universities, allowing them up to 60 days in a year. The prestigious institutions like NLIU Bhopal and MNLU Aurangabad have implemented menstrual leave policies. Punjab University has also approved and granted menstrual leave to the students, Tripathi said in the PIL. The petitioner further submitted that the menstrual status of a woman is a personal matter intrinsic to her privacy and must be treated with dignity and without discrimination. He argued that this requires the State to introduce measures that provide appropriate relief to women during menstrual pain so that they are able to cope with the suffering and protect their personal rights with dignity under Article 21 of the Constitution. The petition, filed under Article 32 of the Constitution, sought directions to all States to frame a policy for menstrual pain leave for female students and working women under the provisions of the Maternity Benefit Act, 1961. Earlier, Tripathi had filed a similar plea before the Supreme Court seeking directions on the issue. However, the court had asked him to approach the Ministry of Women and Child Development (WCD), which could take an appropriate decision in the matter. After complying with the courts order, Tripathi submitted a representation to the WCD but did not receive any relief, following which he approached the Supreme Court again seeking redressal of his prayers. The petitioner has sought directions that during the menstrual period, if a woman suffers pain or other physical discomfort that makes it difficult for her to continue with her normal activities at the workplace, her request for leave or other suitable relief should be considered without discrimination, subject to reasonable and dignified conditions, keeping in mind that the issue concerns womens privacy. He also stressed that India has signed and ratified the Convention on the Elimination of All Forms of Discrimination against Women (CEDAW), which recognises the need for non-discriminatory practices and for treating women with dignity. Spain has recently enacted a law to introduce menstrual leave, thereby addressing the problem of menstrual pain. Vietnam has also enacted and implemented menstrual leave policies. Countries like the United Kingdom, Wales, China, Japan, Taiwan, Indonesia, South Korea and Zambia have different policies or laws on the grant of menstrual leave, he added in his PIL.
Bombay team revisits Bekal to mark 30 years of the classic
Director Mani Ratnam, Manisha Koirala and cinematographer Rajiv Menon arrived at Bekal Fort on Saturday morning to mark 30 years of the 1995 film Bombay
I want to challenge myself across genres and spaces, says filmmaker Nishant Kalidindi
After the outlandish energy and cult success of Kadaseela Biriyani (2021), filmmaker Nishant Kalidindi returns with Theatre, a quieter and deeply observant second feature that marks a shift in both form and temperament. Premiering at the International Film Festival of Kerala in the Indian Cinema Now section, the film was screened to packed audiences, once again underscoring Nishanths assured craft. Set in the traditional urban quarters of Puducherry the filmmakers hometown Theatre unfolds within a local theatre troupe. Shot in Tamil and Malayalam, the film follows Das, a cowherd who leads a double life as an actor, and traces the fragile dynamics of a close-knit group as personal histories and unspoken tensions begin to surface. Rooted in Nishanths close observation of the Indianostrum Theatre group in Puducherry and made within spaces he knows intimately, Theatre emerges as an unassuming yet precise portrait of artists, labour, and the conflicts that shape the act of creation. Nishanth opens up about his journey in a chat with TNIE. Excerpts: After the success of Kadaseela Biriyani, why did it take so long for your next film to come out? The film was actually ready about two years ago. But we wanted it to have a proper festival journey. This year, we had the opportunity to premiere it in Rotterdam, but that process takes time. Also, it was not conceived as a mainstream follow-up to Kadaseela Biriyani, but as an act of self-expression, a way of documenting my journey and memories with a group of artists I deeply admire. It didnt come from a logical plan, but from an emotional need to get something out of my system. The shift from a raw thriller to this film feels drastic. How did you grow personally through this journey? I didnt look at it as growth in that sense. I was excited to do something completely different, put myself in a vulnerable space. This film was made through an improvisational process inspired by theatre practices I observed, where characters are shaped through conversations with actors rather than a fixed script. You know the structure, but you dont know exactly what the scene will become. That uncertainty was exciting. I wanted to dare myself, to find the edges of my abilities. I wasnt trying to be unconventional. I just didnt want to be overly organised. You have said you were ready to shelve the film if it didnt work for you. Why take that risk? It was simple if I wasnt happy with the expression, I would not release it. I didnt want the film to be judged on a measuring scale of good or bad. I wanted people to see it as an observation, something that might reflect their own lives. The film is about stepping outside yourself and looking at yourself from a third-person perspective. Because I wasnt chasing reception, I didnt feel fear. It became a beautiful experience. The film treats everyday labour and theatrical performance with equal weight. What drew you to that? I come from a documentary background, so observation is central to my practice. While spending time with theatre artists, I saw how physical their work is. They literally build their stages; they become masons before they become artists. That fascinated me. This workers life, before being validated as an artist, is their reality. The film mirrors that journey. Thats why theres very little narrative push. I wanted to mimic life. Life doesnt resolve itself in two or three days. Conflicts dont neatly conclude. Hope in the film comes from small validations, the director finding confidence, not a dramatic transformation. The background score and the yellow colour palette feel like characters themselves It came from the space itself. We didnt impose much production design. We just captured what was already there in the streets of Puducherry. I wanted to show it not as a tourist space, but as a lived-in town. Our aim was fidelity to the space, not stylisation. The colours and sound already existed; our job was to record them honestly. Was there pressure to create aesthetically pleasing frames? No. In fact, we tried to avoid aesthetics that felt imposed. In Kadaseela Biriyani, everything was planned and composed. Here, we did the opposite. We followed actors for kilometres, filming events as they unfolded. Instead of creating scenes, we captured situations. Cinema entered reality, but reality was not forced to behave like cinema. Tamil cinema is often seen as highly commercial now. Where do you place yourself within that space? I want to exist in multiple film spaces. Kadaseela Biriyani was a mainstream cinema. Theatre exists in a parallel stream. I dont like strict labels. I want to challenge myself across genres and spaces mainstream, parallel, arthouse and see if I can stand in all of them. As a filmmaker in a neighbouring industry, how do you perceive Malayalam cinema? Malayalam cinema has laid a strong foundation for Indian audiences to engage with layered, thoughtful films. They dont serve the audience; they invite them to think. That has benefited filmmakers like me. Because audiences are already trained to engage deeply, I can push subtlety further into confusion, into multiple emotions at once. As a filmmaker, what is the biggest challenge today? Self-sustainability. A filmmaker must create an ecosystem where they can keep making films without depending entirely on cinema for survival. When you are dependent, you are only surviving, not enriching yourself. Freedom, whether it is financial, emotional, or mental, is important. Cinema comes much later. First, you need the freedom to think. Only then can cinema become a true reflection of life. Theatre premiered at IFFK. How was the audiences response? What I felt most strongly was silence. People stayed with the film even after it ended. That silence felt like a privilege. What that silence reflects to me thats something Im still thinking about.
Sreenivasan death: Veteran actor to receive Police honours by Kerala Government
Sreenivasan, a veteran Malayalam actor, playwright, and filmmaker, died at 69. The Kerala government has promised police honours, including a bugle salute, for his funeral on December 21. A public homage will be held in Town Hall.
Kerala SIR: large number of ASD entries in some polling booths spark concern
Formal publication of the draft electoral rolls under the ongoing SIR will be on December 23
The season of choosing a star for the home, checking whether a string of lights glows white, yellow or multi-coloured, and decking up a Christmas tree is here. With just four days left for Christmas Eve, Thiruvananthapurams markets are preparing to see a heavy rush over the coming weekend. The market comes alive mainly in the evenings, once offices close, and schools let out. Families arrive together, taking their time to walk through the rows of shops. White Christmas trees continue to be popular this year as well, replacing the traditional green in many shops. Tree decorations come in all kinds of styles and sizes. Bright baubles in red, green, gold and silver share space with ornaments shaped like angels, bells, stars and small Santa figurines. There are also strings of LED lights, which are meant to be wrapped around the branches or hung loosely like garlands. Sellers pull out bundles of these lights from boxes and sacks, test them for a moment, and pack them back. By evening, these lights brighten the streets in a mix of colours. Cribs assembled locally are displayed alongside factory-made decorations. Many designs look familiar but appear with small changes in colour, finish or size. Prices vary depending on the quality and size of the items. Simple wooden cribs start at around 500, while cane ones cost a little more. Demand, however, remains steady as Christmas approaches. Handmade items are easy to spot this season, with Christmas-themed tablecloths, runners and cushion covers on display, along with macram pieces that many shoppers are picking up. Curated Christmas hampers are also visible across the market, including in small stores, making gifting easier. As the festival draws nearer and schools and colleges close for vacation, the market is entering its busiest days. So its better to run out now and get the right pieces before the shelves start to empty, and make the home all Christmasy.
Bollywood actor-director Tannishtha Chatterjee on cancer, creativity and female solidarity
After Busan and IFFK Kerala, Full Plate director Chatterjee on fighting cancer armed with her Bollywood sisterhood and art
Tribal head killed by tiger in Wayanad
KALPETTA: A tribal head was killed in a tiger attack in Wayanad on Saturday. The deceased was identified as Kooman (65), the tribal head of the Pulpally Vandikadavu Devargadda Kattunayaka Unnati. The attack occurred around noon when Kooman went into the forest to collect firewood along with his sister. While she managed to escape, Kooman was dragged deeper into the forest by the tiger and mauled. Forest department officials rushed to the spot after receiving information from residents and launched a rescue operation. Officials said Kooman was still alive when he was located, but he succumbed to his injuries at the scene. Following the incident, a massive protest broke out at the site, with residents refusing to allow the body to be removed. Forest department officials and police personnel reached the area to bring the situation under control. Forest officials said efforts are underway to track the tiger and drive it back into the forest. They also informed that the first instalment of compensation would be handed over to Koomans family on Saturday itself.
'No pretence, no restraint...': Maniyanpilla Raju remembers his friend and colleague Sreenivasan
My journey in cinema began almost at the same time as Sreenivasans. I passed out from the Adyar Film Institute in 1975, while he completed his training at the Film Chamber, nearly simultaneously. From the very beginning, our lives ran parallel shaped by struggle, persistence, and an unshakeable love for cinema. Those early days were not easy. Survival itself was a challenge. I can still see him coming for dubbing work for just Rs 50, while I would take acting assignments for about Rs 100. That was how our cinematic lives beganwith Rs 50 and Rs 100 in our pockets, but with dreams far bigger than we could imagine. We both struggled, stumbled, and fought our way forward, and today, looking back, I marvel at how far we came. Sreenivasan was extraordinary, irreplaceable. He was more than a colleague; he was a guiding force in my life. He wrote scripts for some of my most important films Vellanakalude Naadu and Orunaal Varum . He also acted in Aye Auto and Hello My Dear Wrong Number . Later, he directed Akkare Ninnoru Maaran and cast me as the hero. That was Sreenivasan confident, generous, and committed not just to cinema but to the people he believed in. When aspiring writers come to me with their scripts, I often tell them that something is missing. I tell them to study three masters closely MT Vasudevan Nair, Padmarajan, and Sreenivasan. They had a rare clarity in writing. They would leave small, invaluable notes alongside dialogues. A simple dialogue like, Where are you going? would carry a side note: Concealing an old resentment, he casually asks where he is going. Those notes tell actors exactly how to perform a scene. Sreenivasans attention to such emotional detail was unparalleled, and it is a lesson for the next generation. I have never met anyone with such a fine, natural sense of humour. If he heard a genuinely good joke, he would laugh wholeheartedly, with no pretence, no restraint. That honesty in life, in humour, in cinema defined him. The same clarity shone through his writing, acting, and direction. His scripts were sharp, witty, and deeply satirical. Even today, Sandesham feels as relevant as ever, its political satire cutting through the noise of our times. Sreenivasan was a man of deep political awareness, yet he never preached or imposed. His insight was quiet, intelligent, and always humane. But beyond cinema, he was a remarkable human being a true friend, a committed farmer, and a man of integrity. Above all the roles he played actor, writer, director he was simply good. We shared a friendship spanning nearly five decades. We spoke often, laughed often, and shared countless small moments that I will treasure forever. When I heard about a minor fall he had in the toilet, I had planned to visit him the very next day. That visit never happened. For the next generation of filmmakers and writers, Sreenivasan should be a textbook. He, like MT and Padmarajan, understood that cinema is about more than dialogue its about emotion, subtext, and the honesty of performance. I will never forget that Vellanakalude Naadu was rewritten entirely in just three days at the shooting locationa testament to his brilliance, dedication, and love for cinema. An actor, a director, a writer and above all, a good human being. Malayalam cinema has lost one of its finest minds. And I have lost one of my closest friends. (As told to Jose K Joseph)
Malayalis saw themselves, their emotions through Sreenivasans characters on screen, says Mohanlal
Who else other than Sreenivasan can recreate the dreams and disillusionments of the middle class on screen? said Mohanlal
Sreenivasan needed just two films to cement his legacy as a director
The renowned actor and scenarist solidified his legacy in Malayalam cinema with just two influential films that he directed Vadakkunokkiyantram (1989) and Chinthavishtayaya Shyamala (1998) which garnered six State awards between them, showcasing his unique blend of humour and social commentary
Kerala local body polls: BJP-led NDAs footprint expands in Alappuzha district
NDA increases its ward tally to 240 from 181 in 2020 and registers gains in long-held Left strongholds such as Punnapra and Neelamperoor
Laughing through life: The enduring bond of Mohanlal and Sreenivasan
KOCHI: Vijaya, eda namukkentha ee budhi nerathe thonnathathu? The conversation between Dasan and Vijayan, played by Mohanlal and Sreenivasan in Nadodikkattu , remains popular and deeply relatable among Malayalee youngsters even after more than three decades. The line is so familiar to Malayalees that it invariably brings a smile. Through characters like Dasan and Vijayan, Mohanlal and Sreenivasan became the faces of a generation grappling with unemployment, migration dreams, and middle-class aspirations. The duo redefined male friendship on screen not as idealised camaraderie, but as something imperfect, marked by arguments, mistakes, and affection, much like real life. Their films made people laugh and think at the same time, which is why their bond continues to live on in the hearts of Malayali audiences. Off-screen too, Mohanlal and Sreenivasan shared a strong camaraderie. In the late 1980s and 1990s, they appeared together in several Malayalam films as friends, colleagues, and even employer and employee. Dasan and Vijayan of the Nadodikkattu trilogy Nadodikkattu (1987), Pattanapravesham (1988), and Akkare, Akkare, Akkare (1990) made audiences laugh while holding up a mirror to society. However, the actor-screenwriter was also a firm critic of Mohanlal, which eventually led to friction in their relationship. Earlier, while speaking to TNIE , Sreenivasan had said, Mohanlal is a complete actor. When asked about how the 2012 film Padmasree Bharat Dr Saroj Kumar affected their friendship, he replied, Even otherwise, our relationship was not that great. EXPRESS DIALOGUES | Todays politics has gone beyond satire:Sreenivasan Recently, at a private event organised by the Association of Malayalam Movie Artists (AMMA), the duo reunited on stage when Mohanlal presented Sreenivasan with an Ultimate Entertainer Award. Mohanlal embraced his old friend and kissed him, a moment that moved many in the audience. Sreenivasans son, Dhyan Sreenivasan, later acknowledged that there were issues in their friendship and that the split occurred after Saroj Kumar. He also said the differences intensified following the death of Prem Nazir when Sreenivasan planned to make a film with Mohanlal. Paying tribute to Sreenivasan, Mohanlal wrote on Facebook that he could not put their bond into words. Sreeni returned without saying goodbye. I dont know how to explain our bond. It was far beyond the definition of working together in films. On screen and in life, we travelled forever laughing, having fun, quarrelling, and reconciling just like Dasan and Vijayan, he wrote. The duo later appeared together again as friends in Chandralekha (1997), playing Appukuttan (Mohanlal) and Nooruddeen (Sreenivasan). Every Malayali shared the same bond with Sreeni. Every Malayali saw their own face in the characters he created. He portrayed pain, joy, and deprivation with rare honesty. Who else could express the dreams and broken dreams of the middle class like Sreeni? The characters we played together will live forever because of the magic of his writing. Dasan and Vijayan became real people for Malayalees because of Sreenis blessed talent. His creations reflected society a beloved soul who captured pain through laughter, Mohanlal wrote, remembering Sreenivasans immense contribution to Malayalam cinema. Together, the duo worked in more than 20 films, including Chitram (1988), Varavelpu (1989), Mukunthetta Sumitra Vilikkunnu (1988), Mithunam (1993), Kilichundan Mambazham (2003), and Udayananu Tharam (2005). Kerala CM Pinarayi Vijayan, LoP VD Satheesan pay tributes to actor-filmmaker Sreenivasan
Mohanlal did not charge any fee for his cameo performance in Dileep starrer 'Bha. Bha. Ba' which has received good response at the Kerala Box Office. It is the Mohanlal's cameo that is pulling audience to the theatres, early reviews suggest, thus increasing the films promotions and box office appeal.
Kerala SIR: Citing inaccuracies in ASD list, political parties demand extension of SIR schedule
Demand comes on the heels of Supreme Court asking ECI to take a sympathetic view of representations seeking more time
Malayalam film stalwart Sreenivasans legacy: A timeline
Malayalam film veteran Sreenivasan passed away due to ailments on December 20, 2025. Here is a look at his journey in film.
Tributes pour in for actor Sreenivasan
Sreenivasans scripts were milestones of Malayalam cinema; his style was to force one to think through humour
From Poland to Pavanayi: How Sreenivasans dialogues became Keralas meme currency
There are countless dialogues from films written by Sreenivasan that have become a rage on social media decades after their release
Sreenivasan, a scriptwriter like no other
Sreenivasan was a fabulous actor. But he was even more fabulous as a scriptwriter.
Kerala CM Pinarayi Vijayan, LoP VD Satheesan pay tributes to actor-filmmaker Sreenivasan
THIRUVANANTHAPURAM: Chief Minister Pinarayi Vijayan and Opposition Leader V D Satheesan on Saturday expressed deep sorrow over the passing of veteran filmmaker, actor and screenwriter Sreenivasan, describing his death as an irreparable loss to Malayalam cinema and Keralas cultural life. In a condolence message, Chief Minister Pinarayi Vijayan said Sreenivasan was a rare, multifaceted talent who left an indelible mark on every sphere of filmmaking, including story, screenplay, direction and acting. He noted that very few filmmakers had succeeded like Sreenivasan in authentically portraying the life of the common man on the silver screen and in leading audiences to deeper levels of social awareness through humour and thought-provoking narratives. The Chief Minister said Sreenivasan broke several long-standing cinematic conventions and possessed the courage to articulate his ideas with wit and clarity, even when he knew these would invite sharp criticism. Even those who strongly disagreed with his views acknowledged and respected his extraordinary talent, he said. Pinarayi Vijayan added that Sreenivasan played a significant role in reshaping the aesthetic sensibility of Malayalam cinema and was particularly effective in expressing his social perspectives through satire. Many of the characters he created and portrayed, the Chief Minister said, would remain etched in the collective memory of Malayalis for generations. Recalling his personal association with the filmmaker, the Chief Minister described Sreenivasans demise as a personal loss as well. He fondly remembered sharing warm and humourous conversations with him during an interview and said Sreenivasan stood as a symbol of love and friendship. Born and brought up in Pattiam in the Kannur district, Sreenivasans life, he noted, was a lesson in perseverance, having transformed his passion for cinema into reality through sheer self-effort. EXPRESS DIALOGUES | Todays politics has gone beyond satire:Sreenivasan Opposition leader V D Satheesan, in his condolence message, described Sreenivasan as an extraordinary artist who, in a unique style, captured the lives of small people in a vast world and great people in a small world. A multifaceted genius of Malayalam cinema, Satheesan said, Sreenivasan turned everything he touched into gold, and his five-decade-long cinematic journey concluded with achievements that few could ever hope to match. Satheesan highlighted the depth of Sreenivasans writing and the breadth of his acting, recalling the filmmakers oft-repeated, humorous remark that it was Priyadarshans trick that made him a screenwriterwhich time proved to be Malayalam cinemas great fortune. Most of the characters he wrote and portrayed, Satheesan said, were deeply familiar figures, rooted in the Malayali collective psyche, and they dismantled conventional notions of heroism, making them timeless. He said classics such as Thalayana Manthram, Vadakkunokkiyantram and Chinthavishtayaya Shyamala exemplified Sreenivasans ability to blend realism, satire and social critique. Calling him a symbol of extraordinary mental strength and fighting spirit, the Opposition Leader said Sreenivasan portrayed, with rare sensitivity, the many layers of an average Malayalis lifeits love and longing, helplessness and innocence, friendship and bitterness, biting satire and uncomfortable truths. There would hardly be a Malayali who does not recall, at least once a day, something Sreenivasan wrote, said or showed on screen, Satheesan said, noting that his legacy transcended boundaries of age, caste, religion and politics. Recalling a recent interaction in Thiruvananthapuram, he said he had hoped to meet Sreenivasan again on his return to Ernakulam, but fate did not allow it. Both leaders joined the people of Kerala in bidding farewell to Sreenivasanan unparalleled talent, a humane voice of cinema, and a cherished presence who reshaped Malayalam films and society alike.
Mani Ratnam, Manisha Koirala visit 'Bombay' location; to attend Bekal International Beach Festival
KASARAGOD: Director Mani Ratnam, actress Manisha Koirala and cinematographer Rajiv Menon, the crew of the movie Bombay , visited the Bekal fort on Saturday morning and lived through their Bekal experience once again. The song Uyire in Bombay movie, released in 1995, has put the historic Bekal fort on the tourism map. Rajiv Menon has captured the beautiful fort in its monsoon glory for the film. Incidentally, the Kerala government established the Bekal Resort Development Corporation (BRDC) in 1995 to promote fort-based tourism, and the timing of the film greatly aided in promoting the fort. So, the BRDC has decided to host the Bombay reunion for this year's Bekal International Beach Festival . Mani Ratnam, Manisha Koirala and Rajiv Menon, accompanied by Tourism Minister Mohammed Riyas, visited the fort and went around. Actress Manisha Koirala wondered how much the fort had developed, and it is now very beautiful, she said. Rajiv Menon captured Mani Ratnam and Manisha Koirala in his camera once more. The crew will participate in the inaugural of the Beach Festival later in the evening.
Sreenivasan gave me my best characters, Urvashi reminisces
Urvashi had once named Sreenivasan as the best male protagonist with whom she acted
Sathyan Anthikad expresses profound sorrow following the passing of Sreenivasan and reflects on their partnership that shaped Malayalam cinema. Anthikad describes their relationship as special
Sreenivasan, a Thalassery legend, becomes part of history
Politically aware and inclined towards the arts, Sreenivasan rooted his stories in villages and marinated them in earthy humour
Veteran Malayalam actor and director Sreenivasan passes away at 69
Born on April 6, 1956, in Patyam near Thalassery in Kerala's Kannur district, Sreenivasan emerged as one of the most influential voices in Malayalam cinema, known for blending sharp social satire with accessible storytelling.
Sreenivasan: the satirist who made Kerala laugh, think, and remember
Known for his sharp political commentary and memorable characters, Sreenivasans work, including collaborations with notable filmmakers like Priyadarshan and Sathyan Anthikkad, has left an indelible mark on Malayalam film industry
Renowned Malayalam actor-filmmaker Sreenivasan, passes away | LIVE Updates
He had been ailing for some time owing to cardiac and other ailments
Actor, screenwriter, and filmmaker Sreenivasan who made Keralites laugh and reflect passes away
KOCHI: Veteran Malayalam actor, screenwriter, and filmmaker Sreenivasan passed away on Saturday at the Tripunithura Taluk Hospital in Kochi. He was 69. Suffering from prolonged health issues, Sreenivasan was being taken to Amrita Hospital for dialysis when his condition deteriorated on the way. He was rushed to the Tripunithura hospital, where he breathed his last. Sreenivasans death marks the end of an era in Malayalam cinema. Over a career spanning nearly 48 years, he emerged as one of the most influential creative voices in the industry, shaping popular cinema through sharp satire, humane storytelling, and socially rooted humour. He acted in more than 200 films and wrote screenplays for several landmark works that continue to define Malayalam cinemas golden years. Born on April 6, 1956, in Patyam near Thalassery in Kannur district, Sreenivasan grew up in a modest household. His father was a schoolteacher, and his mother was a homemaker. After completing his schooling in Kuthuparamba and Kadirur, he graduated in economics from PRNSS College, Mattanur, before pursuing formal film education at the Film and Television Institute of Tamil Nadu, Chennai. He made his acting debut in Manimuzhakkam (1976), directed by P A Backer, and went on to play his first lead role in Sanghaganam (1979). However, it was as a writer that he truly left his mark. His first screenplay, Odaruthammava Aalariyam (1984), announced a new voice in Malayalam cinemairreverent, observant, and unapologetically critical of social hypocrisy. EXPRESS DIALOGUES | Todays politics has gone beyond satire:Sreenivasan The mid-1980s to early 1990s saw Sreenivasan at the peak of his creative powers. Films such as Gandhinagar 2nd Street, Sanmanassullavarkku Samadhanam, Varavelpu, and, most notably, Nadodikkattu , transformed everyday middle-class anxieties into enduring cinematic narratives. Nadodikkattu and its sequels became cult classics, with dialogues and characters entering popular culture and remaining relevant decades later. Sreenivasan frequently collaborated with leading directors such as Priyadarshan, Sathyan Anthikad and Kamal, forming a creative axis that defined mainstream Malayalam cinema. His writing blended humour with political and social critique, most powerfully seen in Sandesam (1991), a biting satire on political opportunism that earned him a Kerala State Film Award. As a director, Sreenivasan proved equally accomplished. Vadakkunokkiyanthram , which he scripted and directed, explored male insecurity and patriarchal attitudes with rare sensitivity and won the Kerala State Film Award for Best Film. Nearly a decade later, Chinthavishtayaya Shyamala (1998) addressed marital alienation and emotional conflict, winning the National Film Award for Best Film on Other Social Issues. In later years, Sreenivasan remained a significant presence, adapting to changing times without losing his edge. Films such as Udayananu Tharam , Katha Parayumpol and Njan Prakashan reaffirmed his relevance. Njan Prakashan went on to become one of the highest-grossing Malayalam films of all time, introducing his brand of social satire to a new generation of viewers. His contributions were recognised with numerous honours, including a National Film Award, multiple Kerala State Film Awards, Filmfare Awards South, Asianet Film Awards and lifetime achievement honours from film bodies and cultural organisations. As an actor, Sreenivasan was known for his understated performances, often portraying the flawed common man with authenticity and restraint. His screen presence complemented his writing, lending credibility and emotional depth to characters rooted in everyday life. Sreenivasan is survived by his sons Vineeth Sreenivasan and Dhyan Sreenivasan, both established figures in the Malayalam film industry. With his passing, Malayalam cinema loses not just a prolific artist but a conscience keeperone who consistently used humour and storytelling to question society, politics and human relationships.
Kerala Animal Welfare Board floats action plan to address stray issue
THIRUVANANTHAPURAM: Mandatory licensing of pets and microchipping for vaccine compliance were among the proposals mooted by the State Animal Welfare Board in its first meeting on Friday, as it set in motion a comprehensive action plan to address the stray dog issue, strengthen animal welfare and improve shelter infrastructure across the state. Chaired by Minister J Chinchu Rani, who is also the board chairperson, the meeting also proposed stricter penalties for abandoning pets and establishment and upgradation of animal shelters in the backdrop of recent Supreme Court directions. To curb abandoning of pet dogs, the board recommended mandatory licensing for all pet canines, simplification of the licensing process via K-SMART, and the introduction of microchipping to ensure vaccine compliance. The meeting also decided to amend the Panchayati Raj and Municipal laws to impose stricter penalties on those abandoning their pets. The board decided to decentralise the handling of complaints related to animal cruelty, and pet shop and breeder registrations. Such cases will be examined at the district level by chief veterinary officers and matters requiring higher intervention will be referred to the state board with specific recommendations.
