In the endless debate among Malayalam cinema fans about who reigns supreme – Mohanlal or Mammootty – a fresh and authoritative perspective has emerged from an unexpected quarter. National Award-winning actor Manoj Bajpayee has weighed in, offering a nuanced analysis that compares the two legends to titans of global cinema.
Bajpayee's Verdict: Two Different Schools of Acting
In a candid interview with Galatta Plus, Manoj Bajpayee, celebrated for his role in 'The Family Man', addressed the perennial comparison. He firmly stated that both are phenomenal actors but belong to two distinctly different schools of acting. To illustrate his point, Bajpayee first drew parallels with Indian cinema's greats, likening the duo to Naseeruddin Shah and Om Puri. He then elevated the comparison to a global stage, equating them to the iconic pairing of Robert De Niro and Al Pacino.
Mohanlal: The Spontaneous Robert De Niro
Bajpayee explained that Mohanlal's craft reminds him of Robert De Niro. He described De Niro as an actor who immerses himself completely in his character yet remains remarkably open and fluid during filming, embracing last-minute changes with ease. "Mohanlal sir is somebody who knows his script backwards," Bajpayee observed. He believes that once Mohanlal internalizes the script, he begins to live the role, arriving on set prepared with every subtle detail. His performance then becomes a natural, instinctive flow, reacting organically to the scene and his co-actors.
Mammootty: The Master Craftsman Like Al Pacino
In contrast, Bajpayee compared Mammootty to Al Pacino, known for his intense, meticulous preparation. He hailed Mammootty as a "true craftsman" who delves deep into rehearsal before facing the camera. Bajpayee cited Mammootty's recent performance in the horror film 'Bramayugam', directed by Rahul Sadasivan, as a prime example of his exceptional skill. "Bramayugam! My goodness! You cannot carry a film if your craft is not of that level," he exclaimed. He elaborated that Mammootty's layered acting provides answers to the film's mysteries by its conclusion, with the nuances in his performance explaining plot points without explicit dialogue.
Bajpayee concluded by revealing his long-standing admiration for both actors, noting he has watched their work for years. His fascination with Malayalam cinema was so profound in his younger days that he worked as a volunteer at film festivals specifically to gain access to their films.
Urvashi's Earlier Take on the Iconic Duo
Manoj Bajpayee is not the only contemporary to analyze these stalwarts. Actress Urvashi had previously shared her insights in an interview with Ranjini Haridas. When playfully asked which actor she preferred to work with, she initially joked, "Mammootty." She later clarified, praising both Mammootty and the late Jagathy Sreekumar for their chameleonic ability to "play a king and a beggar at the same time."
She noted that while Mohanlal is undoubtedly a great actor, his distinctive look and powerful screen presence might require some effort to fit into such drastically varied roles. Urvashi also commended Mammootty's exceptional command over language, stating he can effortlessly adopt any regional slang from Thiruvananthapuram to Kasargod – a skill she emphasized is not common.
These reflections from esteemed peers like Manoj Bajpayee and Urvashi move the conversation beyond fan rivalry. They frame Mohanlal and Mammootty not as competitors, but as complementary pillars of Indian acting, each embodying a unique and powerful approach to the craft that has defined Malayalam cinema for decades.
