Shaji N Karun: Adios, Maestro of Malayalam Cinema
A heartfelt tribute to veteran filmmaker and cinematographer Shaji N Karun, who passed away at 73. Remembering his groundbreaking debut Piravi, international acclaim, and lasting legacy in Malayalam and world cinema.
It’s a sombre day for the world of independent cinema, as we bid farewell to Shaji N Karun — a wizard behind the lens, a quiet revolutionary, and a true champion of human stories. At the age of 73, he slipped away quietly at his residence in Thiruvananthapuram on Monday, leaving behind a body of work that would make even the hardest of critics tip their hat.
Born on the first day of 1952 in Kollam, Kerala, Karun seemed destined for the silver screen. After cutting his teeth at the prestigious Film and Television Institute of India, he set forth on a journey that would change the landscape of Indian cinema. His debut as a director, Piravi (1988), was nothing short of a bolt from the blue — a film so profoundly moving that it garnered a Caméra d’Or – Mention d’honneur at the 1989 Cannes Film Festival, not to mention a well-deserved National Award for Best Director back home.
Piravi wasn’t merely a feather in his cap; it was a herald of a career brimming with rich visual poetry and deep humanism. The film travelled far and wide, from Edinburgh — where it scooped up the Charlie Chaplin Award — to Locarno, where it bagged the Silver Leopard, and back to Cannes for yet another nod. It was clear to anyone with half an eye that Karun wasn’t here to play second fiddle; he was charting a path all his own.
The old guard in Malayalam cinema knew talent when they saw it. Before he called the shots himself, Karun spent a good ten years learning the ropes alongside legends like G Aravindan and K G George. His steady hands shaped classics like Kanchana Sita, Thampu, and Lekhayude Maranam Oru Flashback, long before Piravi had audiences weeping into their handkerchiefs.
Thereafter, the hits kept coming. Swaham (1994) and Vanaprastham (1999) both strutted proudly into the official selection at Cannes — no mean feat for a filmmaker rooted in the earthy tales of Kerala. With Kutty Srank (2009), he once again proved he could pull a rabbit out of the hat, capturing raw emotions with a finesse few could match.
And yet, Karun was never one to rest on his laurels. More recent works like Swapaanam (2013) and Oolu (2018) showed a director still hungry, still poking about in the forgotten corners of the human experience.
Beyond the director’s chair, Karun made his mark as a cinematographer par excellence, weaving magic in films like Genesis, Ek Chadar Maili Si, and Sargam. His eye for detail, his understanding of light and shadow, could turn even the plainest scene into pure gold.
Public service too came calling, and Karun answered with his usual aplomb, serving as chairman of the Kerala State Film Development Corporation and playing a key role in shaping the Kerala State Chalachitra Academy. Accolades naturally followed — the JC Daniel Award, the Padma Shri, and even France’s Chevalier des Arts et Lettres found their way to his mantelpiece.
Still, no legacy is without its shadows. Towards the twilight of his career, Karun found himself in hot water, facing accusations over his treatment of women filmmakers and his involvement in controversial funding decisions within the Malayalam film industry. It’s a cloud that some say hangs over an otherwise stellar contribution.
But today, as we remember the man and his magic, it’s hard not to feel a lump in the throat. In an industry often obsessed with glitz and glamour, Shaji N Karun chose a different path — one of quiet dignity, introspection, and storytelling rooted in truth. He told the tales of ordinary people with extraordinary compassion, and for that, the world is richer.
He leaves behind his wife, Anasuya Warrier, and sons, Anil and Appu — and a cinematic legacy that will no doubt stand the test of time.
As the curtain falls on his remarkable life, one can’t help but think — the stage feels a little emptier today.
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