Kochi: Legendary actor, screenwriter, and filmmaker Sreenivasan was cremated with full state honours at his residence in Kandanad, Udayamperoor, on Sunday, bringing to a close an era that reshaped the trajectory of Malayalam cinema.
The cremation, attended by political leaders, film personalities and hundreds of admirers, reflected the immense respect and affection he garnered over nearly five decades in the industry.
Sreenivasan, 69, passed away on Saturday morning while being taken for routine dialysis.
For the past few years, he had been battling persistent health issues. His body was placed at the Town Hall on Saturday to allow thousands of people to pay their last respects, before being taken to his house at around 4.45 p.m. On Sunday morning, a steady stream of mourners arrived to bid farewell to the iconic filmmaker.
CPI(M) state secretary M.V. Govindan, opposition leader V.D. Satheesan, Tamil actor Suriya and Malayalam actor-director Renji Panicker were among those who paid their final homage.
Emotional scenes unfolded as friends, colleagues, and fans gathered to honour a man whose work, both in front of and behind the camera, continues to define realism in Malayalam cinema.
Sreenivasan is survived by his wife, Vimala; his sons, filmmaker-singer Vineeth Sreenivasan and actor Dhyan Sreenivasan; and daughters-in-law Divya and Arpita.
Born in Paatyam, Kannur, Sreenivasan entered films through PA Backer’s ‘Manimuzhakkam’, marking the beginning of an illustrious journey that effortlessly blended humour, social critique and relatable narratives.
He began screenwriting in 1984 with Priyadarshan’s Odaruthammava Aalariyam, and went on to craft 54 screenplays, carving a distinctive space in Malayalam cinema’s golden storytelling tradition.
His collaborations with directors Sathyan Anthikad and Priyadarshan — 32 in total — produced some of Malayalam cinema’s most beloved and socially relevant films.
His directorial ventures, though fewer, mirrored his philosophy of subtle satire, ordinary protagonists and powerful social commentary.
In an era dominated by stereotypical portrayals of the heroic male lead — handsome, larger-than-life and invincible — Sreenivasan boldly challenged cinematic norms.
He championed realism, crafting characters who were fallible, vulnerable and unmistakably human.
Through quiet humour and sharp satire, he held a mirror to society, exposing its hypocrisies while never losing empathy for the common man.
As Malayalam cinema mourns his passing, Sreenivasan’s legacy remains indelible. His storytelling continues to inspire a generation of filmmakers, and his characters live on — not in grandeur but in authenticity. For the industry and his admirers, his demise is not merely the loss of an artist, but of a conscience keeper who dared to redefine cinema.
(IANS)
