About Bharat Chronicler

The in-house master of ceremonies, online janitor and chronicler of the life and times of Bharat Gopy - playwright, author, director, producer and actor extraordinaire of Indian Cinema.

AR Rajeev remembers Bharat Gopy

AR Rajeev remembers Bharat Gopy

“Brutal honesty was his hallmark when it came to bringing characters alive onscreen,” AR Rajeev writes. He had this sublime gift of exactly guaging and entering a character’s mindscape as envisioned by the playwright or the scenarist.

Usually, there is a certain degree of “transmission loss” that occurs in the process, but with Bharat Gopy, it was exact. It was also what demarcated him from the “average” performers onscreen.

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A K Lohithadas


Lohithadas is known for his rich, detailed, and realistic screenplays. He has written screenplays for 35 films in a twenty-four year long career, such as Thaniyavarthanam (1987), Kireedam (1989), His Highness Abdullah (1990), Bharatham (1991), Amaram (1991), Padheyam (1993), Chenkol (1993), Thooval Kottaram (1996) and Veendum Chila Veettukaryangal (1999). He later became a director, and has directed films such as Bhoothakkannadi (1997), Kanmadam (1998), Joker (2000), and Kasthooriman (2003).

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PV Gangadharan


P.V. Gangadharan’s enviable record at the box office has made his banner one of the most popular ones in Malayalam cinema.

Kattathe Kilikkodu, directed by Bharathan was the only production that PV Gangadharan collaborated with Bharat Gopy, and one which he holds close to his heart, as one of his favorites.

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John Paul


With over 100 screenplays to his credit, he has also authored a definitive memoir on Bharat Gopy titled “Adayalanakshathramayi Gopy”.

Chamaram, Ilakkangal, Palangal, Rachana, Arorumariyathe, Avidathe Pole Ivideyum, Ormakkayi, Sandhya Mayangum Neram, Kattathe Kilikkoodu, Kathodu Kathoram and Utsavapittennu are some of his major works.

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Director KP Kumaran


K P KUMARAN has been at the vanguard of the parallel cinema movement and his films reflect his deep commitment to female empowerment. All his films from the landmark Athithi (1974) to the National award winning Rugmini (1988) and Thotram, recipient of Suvarna Chakoram Award for Writing at the International Film Festival Of Kerala 2001 have female protagonists at the core of the film.

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Director Harikumar


Harikumar made three films with Bharath Gopy in leading roles – Snehapoorvam Meera (1982), Oru Swakaryam (1983) and Puli Varunne Puli (1985).

It was sheer delight watching Bharat Gopy in all the three, with the last that helped showcase another level of humor and satire onscreen.

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Jayasurya made his debut in 2001 in the Malayalam film Dosth as a junior artist. Oomappenninu Uriyadappayyan (2002) was his break-out role.

His performances in films such as Swapnakkoodu (2003), Pulival Kalyanam (2003), Chathikkatha Chanthu (2004), Classmates (2006), Arabikkatha (2007), Shakespeare M.A. Malayalam (2008), and Gulumaal (2009) were highly appreciated.

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A cartoonist scripts an endearing celluloid classic.


By KG George’s own admission, Panchavadipalam was the costliest production he had ever handled, with the construction of the iconic bridge coming to over Rs 15 lakhs at that time.

“Gandhimathi” Balan, the producer of the film, never bat an eyelid as he gave the go ahead to construct a fairly functional bridge that was to be blown up later, created for the movie by Rajeev Anchal.

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The Mahabharat


There were people who told me that scene was not funny and that it was suffocating to watch Gopy’s performance. But what they did not factor in was Dushassana Kurup’s nature. This man is intellectually-challenged. He was told to deliver a thundering speech and he, in his stupidity, thought it meant he had to sound as ear-splitting as possible.The guy would have ceased to be Dushassana Kurup had Gopy delivered the speech even half-a-pitch lower. Gopy knows better.

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Interview with film director K. N. Sasidharan | Zooming in, unhurriedly

Director KN Sasidharan

It was in the 80s when the wonderful world of television, full of opportunities, was opening up and he wanted to be part of that new medium. This is why he turned his attention to the small screen. He directed a popular telefilm, Mash. And for a generation unfamiliar with his work, he is the man behind the famous tagline, ‘vannallo vanamala’, for a detergent soap, which still has amazing recall.

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അവസാനത്തെ ഭരത്, അഥവാ ഭരത് ഗോപി


മനസ്സിൽ തോന്നുന്നത് മറയില്ലാതെ പറയുക ഗോപിച്ചേട്ടന്റെ സ്വഭാവമാണ്. സിനിമയിൽ വരുമ്പോഴും അസുഖമായി മാറി നില്ക്കുമ്പോഴും പിന്നീട് തിരിച്ചു വന്നപ്പോഴും ആ സ്വഭാവത്തിന് മാറ്റമുണ്ടായിട്ടില്ല. തല്ലിപ്പൊളി സിനിമയിൽ അഭിനയിക്കാൻ വാൻ പ്രതിഫലവും കൊണ്ടുവരുന്നവരോട് – അവർ എത്ര പ്രശ്നക്കാരായാലും – നിങ്ങളുടെ സിനിമയിൽ അഭിനയിക്കാൻ എനിക്ക് താല്പര്യമില്ല എന്ന് തന്നെ അദ്ദേഹം പറയും.

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Revisiting Swayamvaram 40 years on, with its director

Adoor Gopalakrishnan on the-edit table with Swayamvaram

It was not received very enthusiastically when it was released first. But once the national awards were announced, it was well-received and widely seen. It was the Malayalam film that received the National Award after Chemmeen. But Swayamvaram bagged several National awards, including best film, direction, cinematography etc. No other film had received so many national awards before that.

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