For over a decade, lyricist Manu Manjith has been a distinctive voice in Malayalam cinema, writing songs that range from playful crowd-pleasers to deeply emotive melodies. Beginning with the bubbly 'Mandaarame' from Ohm Shanthi Oshaana and continuing through favourites like the heartwarming 'Thiruvaavani Raavu' from Jacobinte Swargarajyam and the character-driven tracks of the Aadu franchise—with college grounds still echoing with 'Kodikayarana Pooram'—his work reflects versatility. His latest, 'Sulthaan' from the recent runaway hit Aadu 3: One Last Ride - Part 1, is a high-energy dance number set in a past timeline, once again bringing him together with his most frequent collaborator, composer Shaan Rahman.
Manu has often described himself as a devoted admirer of the late Gireesh Puthenchery, whose influence is evident in his emphasis on simplicity and musicality. Alongside his work in cinema, he continues to practise as a doctor, balancing two demanding worlds. In the conversation, Manu speaks about the Aadu franchise, his journey as a lyricist, his collaborators, the evolving language of film songs, and more.
Excerpts:
Looking back, how would you describe your journey with the Aadu franchise?
Aadu is very close to my heart. It began with the playful title track, ‘Chingari Aadu’, and from there, we started building distinct theme songs for each of the major characters. That helped shape the film’s identity. Aadu 2 was particularly challenging. The first film had mixed responses, but the music was widely loved, so there was pressure. Tracks like ‘Kodikayarana Pooram’ became staples at college fests and tug-of-war events. Shaji Pappan’s theme went quite viral, too. I remember seeing lines like “Haji Mastaan salaam vekkum veeran Pappan” being used under videos about the real Haji Mastan. (laughs) So we knew we had to match that energy. By Aadu 3, we had a clearer understanding of the characters, which gave us confidence, especially while working on ‘Sulthaan’.
The lines for the character songs in the Aadu franchise carry a sense of contrast and playfulness...
Each theme had its own flavour, but we always played with contrast. For Shaji Pappan, we were inspired by the ‘James Bond’ track from CID Moosa, with lines like “James Bondin ditto, Sherlock Holmesin peto, cheeripaayum jeto,” which place the character alongside larger-than-life figures. That is how the Haji Mastan reference came in, and it helped that it rhymed with Shaji Pappan. With Sarbath Shameer, the energy came from the rhyme itself. Lines like 'Veerannoru perundenkil…' have a tongue-twisting rhythm. Sasi Aashan’s theme leans into a more literary tone. So each character had a distinct identity while exploring contrast in different ways.
Do high-energy songs demand a different approach compared to melodies?
The approach is different, but the core remains the same. You have to stay honest to the emotion and situation. Take ‘Puthumazha’ from Sarvam Maya. A line like “thirakkilum thirakkuvaan aduthoraalille? (in all this constant rush, isn’t there someone close by who truly cares for me?)” comes directly from the emotional core of the story. When that foundation is clear, writing becomes easier. The challenge is to make the song connect with people who may not have seen the film, without losing its place within the narrative. With something like 'Sulthaan', it is also about tone and energy. With melodies like 'Venmathi', you have to align closely with the composer’s tune.
You have collaborated extensively with Shaan Rahman. How has that partnership evolved?
It has been a gradual journey. In the beginning, there was curiosity and uncertainty. I remember writing my first song, 'Mandaarame' from Ohm Shanthi Oshaana, and anxiously waiting for his response. When it was accepted, it felt like a breakthrough. From there, we worked on Ormayundo Ee Mukham and many other projects. Over time, we became more comfortable working with each other, which allowed us to experiment more freely. Across different projects, we’ve explored quite a range, from fun, quirky tracks to more emotional songs, and even pieces that are more stylistic or rooted in cultural and historical references.
Your work on Basil Joseph's directorials has also been consistent...
Working with Basil is always collaborative and enjoyable. I remember writing 'Kugramame' from Minnal Murali and asking him if a line worked. You would immediately hear his signature laugh, which usually means it has landed. Communication in music is complex and not always easy to articulate. But over time, you develop a shared instinct. Basil is very easy to work with in that sense.
After Shaan Rahman, Justin Prabhakaran is someone you have worked with frequently...
Justin is not someone who chases instant hits or trends. He works in a very specific, sincere way, which I admire. I had written all the songs in Kunjiramayanam before I properly met him during the recording of ‘Thumba Poove Sundari’. What helped was having a director like Basil in between, who communicated clearly. Then we did Pachuvum Athbutha Vilakkum and Sarvam Maya, where Akhil (Sathyan) knows exactly what he wants, and Hridayapoorvam, where Akhil was again involved in the process.
What stands out about Justin is his respect for the script and his openness to imagery. He values the meaning of the words as much as sound, which makes the process fulfilling. After Kunjiramayanam, one regret we shared was not working on a melody, especially since I admire his Tamil melodies. Since then, we have been doing only melodies... (laughs)
When writing lyrics, how much of the story do you need?
Some directors give detailed narrations, which help you understand the full arc. Others just explain the situation. What matters is clarity about the character, what they feel, and who they are expressing it to.
You have spoken about simplicity in lyrics. How do you approach that?
Simplicity is important, but it shouldn’t dilute the intensity or emotional weight of the song. There is a difference between simple language and simplistic thinking. You can have strong imagery with straightforward words. Sometimes a phrase may not look striking on paper, like 'Neela Nilave' from RDX, but within the composition, it feels effortless.
Is writing a song that connects instantly something you can predict?
It is unpredictable. Sometimes songs you expect to work may not connect, and others become widely loved. A song written years ago might receive a different reception today. The only time I felt certain a song would work even before its release was ‘La La Laletta’. That kind of confidence is very rare.
Does the time taken to write a song depend on the complexity of the idea?
Not always. Often, delays happen due to a lack of clarity. If the communication isn’t clear, it naturally takes longer. Writing itself isn’t always the hardest part. Understanding exactly what is needed is where most of the time goes.
Do you feel uncertain when you begin writing?
Always. Until I find the first word, there is doubt whether I can write a song or not.
Do you think the definition of “good lyrics” has changed over time?
Yes, because cinema itself has changed. Lyrics are ultimately written for films, so they evolve along with the medium. It doesn’t make sense to compare different eras and say one is better than the other.
You are also a practising doctor. How do you balance both careers?
I am a doctor specialising in homoeopathic psychiatry, and I also teach. It is something I love. Balancing both is not easy, but I see them as equally important. Both now demand professionalism. There are practical challenges, especially with promotions, where I cannot always be present. But having another profession allows me to approach cinema without pressure. Cinema is constantly evolving and comes with its own risks. For now, I prefer to continue both. It keeps me grounded while enjoying the creative side of cinema.