It was easy to guess from the trailers of Vettaiyan that Manju Warrier’s role predictably wouldn’t stretch beyond the quintessential ‘devoted heroine’ alongside Rajinikanth. Her intro that ushered in a festive Kerala song did leave hints of what to expect. She pouts, and Rajni pulls her cheeks. She smiles, Rajni who is gently pulling her cheeks kindly smiles sending paternal vibes. He is worried, and she smiles reassuringly. This could easily be her most nondescript role in her two-decade-old career, spanning 47 films. Yet, her elegance shines through in stunning diamond nose pins and handloom saris. But even in her brief screen time, Manju showcases her star power. She manages to own the scene with a passing slow-mo “mass” moment in a passage that's deliberately placed to amplify Rajni's stardom. Not to forget the absolute grace with which she pulled off the dance number ‘Manasilayo’, which impressively channels Rajini’s iconic swagger.
Comeback and after
On paper, Manju Warrier, post her comeback in How Old Are You (2014), in which she played a middle-aged govt employee, neglected wife and mother, who revived her sense of worth through organic farming, has always chosen her characters with caution. Some might have floundered in execution or drifted away in a hackneyed screenplay, but the actor has consistently picked narratives that focused on her. During the initial few years, her characters seem to embark on self-discovery journeys (Rani Padmini, Ennum Eppozhum, Jo and the Boy), possibly reflecting her recalibration after a cinematic hiatus. Slowly finding her feet, testing waters as they say.
But one must concede that despite careful character choices, her second stint hasn’t fully replicated the iconic roles of her initial Malayalam cinema era. The determined single mother in Udhaharanam Sujatha, the witty post-woman who took on responsibilities that belied her age in C/O Saira Bhanu, the complex, bitter heir of a politician in Lucifer, the resilient saleswoman seeking justice in Prathi Poovankozhi and the coveted Prabha, caught between hero and villain in Odiyan were notable exceptions that showcase her versatility.
Parallels with Nayanthara
Manju shares striking similarities with her counterpart in Tamil cinema—Nayanthara. Both exited the industry when they were at the top of their game and returned after a hiatus to secure the cream of projects. They are both guarded about their private life and are also the highest-paid actors in their respective industries. Notably, they balance superstar films with women-centric projects. Even in Vijay’s Bigil, Nayanthara manages to raise the bar in a scene by gently taking the mic away from him and wording a rapturous speech on gender equality. Manju’s decision to be part of superstar-driven vehicles like Marakkar: Arabikadalinte, Lucifer, Villain, and The Priest similarly can be termed a judicious balance.
But Manju’s career path has been divergent and less eventful, since Malayalam cinema’s focus on substance over glamour allowed Manju to sustain herself without dramatic makeovers. Her success has always relied on author-backed roles, showcasing her acting prowess. Nayanthara’s career trajectory counted on spectacular makeovers to maintain her appeal as well as more emphasis on commercial success. Both actors have navigated their careers strategically and that has paid off.
Missteps
Since 2021, Manju’s choices haven’t fully leveraged her talent, despite promising premises. In the engaging but underutilised Chathur Mukham, she was a techie who finds her mobile being possessed, while her role, as a psychiatrist who resorts to bizarre and insensitive treatment methods, was a lost opportunity in an already middling Meri Awaz Suno. While Aysha in which she headlined a real-life activist was a casualty of bad execution and writing and Jack N Jill was a misadventure from the word go. And one felt the actor was also perhaps giving too much emphasis on external transformations (Lalitham Sundaram, Meri Awaaz Suno, Vellari Pattanam), resulting in feeble makeovers and unremarkable performances.
Having said that, parallelly, Manju had already expanded her horizon into Tamil cinema, debuting in Vetrimaaran’s Asuran (2019). Undoubtedly her feisty and temperamental Pachaiyammal who navigates an oppressive system, the death of her son, and the eventual regression of her family, remains one of the best-written roles in her second tenure. For the actor who aced a similar complex character at the age of 20 (Kanmadam), through Pachaiyammal she reaches fruition, imbuing the character’s history, dialect, and emotional depth seamlessly. Her career graph also proves that being in realistic, rustic spaces tapped the primaeval emotions in her. “I always wanted to act with Manju Warrier. You don’t even realise that she is acting, and I am still baffled by how she manages to do this switch-on-switch-off acting,” recalled Dhanush at the audio launch of the film.
But Thunivu and Vettaiyan, headlining superstars, were calculated decisions, recognizing their potential impact on her pan-Indian market. In Thunivu, a heist thriller that headlines Ajith masterminding a bank robbery, Manju plays his accomplice and appears briefly. But her charisma assures that it creates a powerful imprint, as she smoothly aces the mass scenes. What’s also deliberate is that in both instances, Manju dodges the typical “arm candy” trope, utilising her screen time to showcase her talent.
This year, though her first release, Footage, a found-footage genre was a brave attempt from her production house, it sank without a trace. And Vettaiyan is already receiving mixed reviews, which might affect its box office collections. Though Manju Warrier’s box office potential is still in contention, she seems to be determined to balance it out—her next release will be Vetrimaaran’s Viduthalai 2, in which she pairs with Vijay Sethupathy for the first time. There is Mr X, an action drama co-starring Arya and Gautham Karthik. She will also debut in Hindi with a high-concept comedy-drama, Amriki Pandit, co-starring Madhavan, directed by Garg. She reportedly plays a Bhopal-based divorce lawyer, with grey shades. According to Garg, once Manju’s casting was done, they initially considered changing the character to a Malayali who lives in Bhopal. “But she stood firm on playing the character as it was originally written and spent 1.5 months learning the language and perfecting the accent,” says Garg in an online interview. Then there is the much-awaited L2: Empuraan.
Manju Warrier’s triumphant return to cinema paved the way for other female actors to follow suit. But, indeed, they haven’t been able to replicate her success. What Manju can do at this stage is also explore characters that defy traditional norms. That’s been a constant even in her first tenure—she has rarely challenged the status quo of women on celluloid. As a superstar and influential brand, all she needs to do is take bold creative risks (Parvathy Thiruvothu is doing a fine job of it) and solidify her status as a trailblazer in Malayalam cinema.
Neelima Menon has worked in the newspaper industry for more than a decade. She has covered Hindi and Malayalam cinema for The New Indian Express and has worked briefly with Silverscreen.in. She now writes exclusively about Malayalam cinema, contributing to Fullpicture.in and thenewsminute.com. She is known for her detailed and insightful features on misogyny and the lack of representation of women in Malayalam cinema.
Views expressed are the author’s own.