Wondering why some popular Malayalam stars turn plastic on-screen when they return after a considerable gap. It’s good to see their body-mind transformation. In the process of grooming, everything gets better usually. If acting is a job, a long vacation might create fear or anxiety as the syllabus of cinema keeps changing. The first one in the row was Manju Warrier. The ‘change’ wasn’t appealing to Mallus. From a conventional ‘nostu’ figure and speech, Manju embraced her new avatar and none of her films showed an upward trajectory. In How Old Are You, the first show of her second term, Manju picks her up towards the end. In ads, Warrier comes glamorous but in public platforms, she remains simple and humble. In my observation, Manju keeps her pre-set boundaries in her interactions with the young and old folks discreetly wrapped in her projected innocence. Malayalees are in a conundrum here. Why Manju fail in her current roles? Since Manju gained all the hype (mindlessly?) and won the hearts of Mallus unanimously in her heydays, a reality check still makes them uneasy. Does talent have an expiry?
Meera Jasmine, another adorable darling of Malayalees could be the second in the row. Her recent interviews prove how restricted she is as a person now. That’s purely personal. But it pains to see the same reservation continue on-screen. Queen Elizabeth, her recent, directed by M. Padmakumar struggles to win the audience. Establishing a self-made Elizabeth in the beginning, the film takes a U-turn to create a formulaic woman out of a prank sort of tragic situation. Meera cripples in her acting and none of her life situations invoke empathy. Queen Elizabeth flopped at the box office. I am sure Meera and Manju desperately need some hits to regain their old glory.
This second-coming syndrome is happening in other industries too, look at MadhuriDixit. Something doesn’t click. Most of them, especially actresses come back with a fine-tuned body and opt latest wardrobes and styling. Appreciating the effort. So, how could they possibly miss the study materials of new-age acting? Or were they just fit for that ‘era of audience and subjects’? Hope not!