It has been almost a year since the passing of the legendary Delhi Ganesh due to age-related ailments. While he is mostly known for his supporting roles in Tamil cinema, the actor also has some memorable credits in Malayalam, two of which are Devasuram and Kaalapani. Now that Ravanaprabhu is in theatres again, it is worth looking back at one of the most pivotal moments in its predecessor that sets the tone for how the rest of the film shapes up and even impacts its 2001 sequel. Who can forget the world-weary Panicker in the epic IV Sasi directorial about two rivalling landlords in the Valluvanad region of Kerala?

At about 90 minutes into the film, Delhi Ganesh's character Panicker appears at Mangalassery to confront Mohanlal's Neelakandan. Panicker reminds Mangalassery Neelakandan of how wrong it was of him to force Bhanumathi (Revathi) to make her debut dance performance in front of him and his gang members. Panicker also criticises Neelakandan for his arrogant and destructive behaviour. The moment plays an important role in Neelakandan's transformation and eventual redemption arc. In other words, this is where the Asuran starts his journey to becoming the semblance of a Devan.

The moment Panicker walks away from Mangalassery, an upset Neelakandan pauses for a moment and takes an internal reflection of his lifestyle and identity. "What did that man call me? 'A feudal thug.' Attaboy!" he says in an introspective way and in approval of the old man. What makes the moment fascinating is that nobody else in the village dares to raise their voice against Mangalassery Neelakandan. Someone had to remind him of his tyrannical rule over the villagers, and Panicker's criticism is just the kind of brutal and accurate assessment of Neelakandan that lays bare his worst side.

Earlier in the film, Mohanlal's character admits to a percussionist that he is a thug, an alcoholic, and a womaniser, and that he only admires those who perform quality art. Panicker is an artist himself, which gives him a sense of authority over Neelakandan, and which means that the latter must take his words seriously, and he does. Following the confrontation, Neelakandan goes to see Bhanumathi at her home and ask her for forgiveness. While Panicker barely gives away any details about his personal self to Neelakandan during the altercation, the latter tells Bhanumathi that he is aware of the former's significance in the world of art. The altercation, thus, serves multiple purposes: placing Bhanumathi at the heart of the story, bringing out further aspects of Neelakandan, and indirectly strengthening the feud between him and Mundakkal Shekaran (Napoleon). Panicker's criticism makes Neelakandan's vulnerability more apparent to his archrival, Shekaran, giving the latter an opportunity to strike.

The confrontation between the two characters is among the most impactful moments in Devasuram, thanks mainly to the writing and the performances. Delhi Ganesh provides the necessary gravitas and screen presence to nail the role of Panicker and help make it a defining sequence in the franchise. Interestingly, the one who dubbed for him in the film is Prathapachandran, another legendary actor in Malayalam cinema.