In Vineeth Sreenivasan’s 2012 film Thattathin Marayathu, an interfaith love story, Vinod, the protagonist, is cornered by his party comrades for being in a relationship with a girl from a “bourgeois” family. As clamour to expel him grows louder, Manoj — his friend and fellow comrade — steps in. What follows is a fiery monologue on “real communism” and working-class vigour, delivered with conviction and greeted with rousing applause in theatres. The scene’s impact was such that clips from it still go viral during every election season. It is a moment usually reserved for heroes, but Vineeth entrusted it to a one-film-old Deepak Parambol, and the actor hasn’t looked back since.
Deepak has since become one of the most dependable character actors of his generation, being part of many significant films over the past decade, including Rakshadhikari Baiju Oppu, Ottamuri Velicham, Kannur Squad, Manjummel Boys, Sookshmadarshini, and Ponman. As the actor gears up for the release of ZEE5’s Kasaragod Embassy on March 20, his maiden web series for a mainstream platform, we sit down for a chat on the show, his hits, his misses, and everything in between.
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Earlier this year, on January 1 to be precise, you shared a picture of your new house and expressed gratitude for all that cinema has given you. You also tagged two people in that post: your wife, actor Aparna Das, and Vineeth Sreenivasan.
If not for Vineeth ettan, none of this would have been easy. I used to go around requesting directors for roles, but nothing materialised until he picked me through auditions for Malarvadi Arts Club. He later offered me the part in Thattathin Marayathu, which changed my life. That character and the scene in the party office still help me land roles. Even otherwise, I’m sure I would have become an actor someday, but it might have taken years, like how Joju chettan toiled before finding recognition.
Aparna has also been a constant pillar of support since our relationship began. The house was a dream, but achieving it wasn’t easy. Many people have helped me along the way, but they were the most crucial.
This is your 16th year in films, and you have done over 40 films. Has the journey gone as expected?
My career graph has been moving at a snail’s pace, but it has never dipped. I’ve been getting meaty roles at regular intervals, such as in Thira, Rakshadhikari Baiju Oppu, and Captain, which have helped me survive in this competitive industry. It wasn't a smooth ride, but I persisted.
But have thoughts of quitting ever crept in?
Definitely, especially during the first six or seven years. Financial struggles can break you. My remuneration was very low initially, hardly enough to survive until the next offer, which sometimes took up to six months. College functions and small inaugurations helped me get through those tough times.
The hardest phase for any actor is when you’re idle. Waiting for roles can be emotionally draining. I would see my friends leading stable lives with decent incomes. Since I’m a postgraduate, I knew I could have taken up an IT job or moved abroad. But after spending 10 years in cinema, I realised there was no point going back. My attitude now is simple: work hard and do my best here.
You are now stepping into the digital space with Kasaragod Embassy. What are your hopes for it?
It’s a thriller about an investigation into a passport forgery racket. I play an investigating officer who stumbles upon it while working on another case. I was offered the role just a few days before shooting, but director Atish, who also hails from Kasaragod, gave me a convincing narration. I was also keen to be part of a mainstream OTT series because of the opportunities it presents.
Could you elaborate?
OTT shows help reach a wider audience. In Bollywood, digital content has almost become a parallel industry where actors like Manoj Bajpayee and Kay Kay Menon thrive and enjoy a new level of stardom. It would be great if Malayalam cinema also develops such a culture, especially given the uncertainty around the theatre business.
Today, films either become huge hits or flop miserably. Several factors contribute to this, including the influence of first-day reviews. For an actor like me, who may not pull audiences to theatres, OTT is an ideal option.
Despite headlining films like Ormayil Oru Shishiram, Bhoomiyile Manohara Swakaryam, and Nellikka, you seem to have gravitated towards character roles lately. Is it because of their box-office results?
I’m not very confident about many of the subjects that come my way. It either has to be a strong story or a good team. Many recent offers were uninspiring — often projects put together in haste. That said, I have no qualms about doing lead roles. Like any actor, I crave those claps and whistles. Things are looking positive now. I’ll be playing one of the characters in Thattum Vellattam, directed by Mridul Nair, and I also have a full-fledged role in Shaji Kailas sir’s Varavu.
How have your priorities changed over the years?
My sensibilities have shifted. Earlier, I mostly watched Malayalam and Tamil films, but now I make an effort to watch acclaimed films from different languages. That has subconsciously influenced my choices.
For instance, I’m not sure if I would have done Sarkeet a few years ago. When Thamar narrated the idea, I sensed potential, and I’m glad it worked out. On the other hand, there was no reason to decline a film like Manjummel Boys. Chidambaram had done extensive groundwork, including a documentary with the real Manjummel boys, which made things easier for us actors. In a way, that film chose me. Of course, financial considerations also influence decisions.
Any characters you feel deserved more recognition?
The role in Ottamuri Velicham. It was released only at festivals and never reached theatres. Though it won a few State awards, I feel it didn’t get the reach it deserved. Back then, films like that were easily dismissed as “award padam”.
Ormayil Oru Shishiram was another film that broke me. Director Vivek and I truly believed audiences would embrace it. Many appreciated it later on OTT, but that doesn’t change much. Vivek’s demise in an accident further shattered me. It took a while to get over.
Malayalam cinema today is praised for its writing and experimentation. From your perspective, what has changed the most in the last decade?
Films are now made in a much friendlier atmosphere. I was fortunate to start with Vineeth ettan’s team, but I’ve also heard and experienced how tense film sets used to be with seniors around. Today, many films are made among friends, where everyone can share their viewpoints.
Audiences have also become more open to experimentation, largely due to their exposure to international content following the pandemic. I don’t think a film like Eko would have worked in theatres a few years ago. We no longer have to stick rigidly to formulas.