From Unniyarcha to Lokah’s Chandra – Mollywood’s most impactful female characters onscreen

Indian film industry, across the languages, has always been promoted through male centric roles. To bring audience to theatres, lead hero plays a magnificent role indeed. Indian culture deeply rooted in goddess worship has brought some of the powerful and impactful female characters onscreen, ever since the classic era. From Guru Dutt of classic era to Sanjay Leela Bhansali of modern times, there have been many directors who gave much importance to female characters of Bollywood screen. Same is the case of other Indian film industries too.

After the release of Lokah Chapter 1: Chandra in 2025, there are hot discussions of female centric roles in Indian cinema. The movie’s lead Kalyani Priyadarshan became the first female superhero of Indian screen, and the movie became the first Malayalam film to gross 300 crore plus at box office. The movie also broke several box office records including the highest earning south Indian film in a female lead.

It’s not like Chandra is the first and most powerful female lead of Malayalam cinema. Over the decades, there are countless women-centric roles which made an impact and still remembered. In a film industry fully dominated by men and hero-centric roles, let’s go through the history of Malayalam cinema to discuss some of the memorable female centric roles and powerful female characters on screen.

Unniyarcha (1961) – Mollywood’s first industry hit with a female lead

Unniyarcha – A legendary female warrior from Vadakkan Pattukal was first brought on screen by producer-director Kunchacko in 1961. Ragini played the titular role of Unniyarcha, while Sathyan played Aromal Chekavar and Prem Nazir played Chandu. Movie was a huge hit at box office and several movies based on Vadakkan Pattukal (Northern Ballads) which depicted the stories of ballads were made in Mollywood later. Some of the hit movies made later in Malayalam cinema – Aromalunni (1972), Thacholi Othenan (1964), Thacholi Marumakan Chandu (1974) and Oru Vadakkan Veeragatha (1989), had Unniyarcha playing female lead, but none of them were central characters.

Movies like Bhargavi Nilayam and Yakshi created impactful Yakshi’s onscreen in the 1960s

Bhargavi Nilayam (1964) is widely regarded as the first horror film in Malayalam, which starred Vijaya Nirmala in the lead role of Bhargavi. The movie, an adaption of Vaikom Muhammad Basheer’s short story Neelavelicham draws lines from Ashok Kumar-Madhubala starrer Mahal (1949), where the house itself becomes a character — mysterious, moody, and full of memories. Bhargavi Nilayam starring Madhu, Vijaya Nirmala, Prem Nazir and P. J. Antony, marked the directorial debut of ace filmmaker A. Vincent, and it became an industry hit and highest grosser, setting new standards to Malayalam cinema. The movie also marked the successful beginning of female ghosts in Malayalam cinema.

Yakshi (1968) directed by K. S. Sethumadhavan is Malayalam’s first psychological thriller. The movie starred Sathyan and Sharada in lead roles.

Sharada and Sheela did some of the impactful female characters on Malayalam screen since 1960s

Sharada won her first National award for best actress for the heartbreaking performance in Thulabharam (1968). The movie which was an industry hit back then, was remade to Hindi, Tamil and Telugu languages where Sharada reprised her role. Murapennu (1965) – M.T. Vasudevan Nair’s first screenplay for a film, Yakshi (1968), Mooladhanam (1969), Mindapennu (1970) etc are some of her best works in women-centric films.

Karuthamma in Chemmeen (1964) and Chellamma in Kallichellamma (1969) are powerful female lead roles of Sheela. Kallichellamma was an industry hit at the time of release and Sheela became the first actress to win Kerala state award for best lead actress. Oru Penninte Kadha (1971) and Sarapancharam (1979) are a few more female centric roles she played onscreen. She also played several powerful female legends of Vadakkan Pattukal on screen in the 1970s.

Notable Female-Centric / Strong roles have been played by Jayabharathi, a young contemporary of both these legends. Oru Sundariyude Katha (1972), Ayalathe Sundari (1974), Rathinirvedam (1978) and Kalpavriksham (1978) are some honorary mentions.

Julie of Chattakari broke all stereotypes of Malayalam cinema

Chattakkari (1974) was a movie based on the soft porn novel of Pamman. The movie was noticed for its bold theme, and how the female lead was portrayed in the film. Julie of Chattakari played by the debutante Lakshmi is regarded as an iconic character of Indian cinema, because Lakshmi played the titular role of Julie in Hindi remake as well as Telugu, surprising the Indian audience for the bold theme it chose. Indian audience was not quite ready for such kind of stories, way back in the 1970s. Following its success, the movie has been remade to different languages as well as different timelines with different heroines. Yet Lakshmi’s role as Julie stands out. The movie bagged her the Kerala State Film Award for Best Actress and Filmfare Award for Best Actress in Hindi as well as Malayalam.

Actress Seema in Avalude Ravukal – The boldest female lead till then

Avalude Ravukal (1978) was only the third Malayalam film to be certified with A-Certificate by the Central Board of Film Certification (CBFC), followed by Kalyana Rathriyil (1966) and Punarjanmam (1972). While the early two depictions introduced adult themes, primarily through horror and psychological narratives, with films such as Avalude Ravukal starring Seema and Rathinirvedam starring Jayabharathi, both released in 1978, there was a shift in narrative and presentation, where prime focus was on human sexuality, challenging societal taboos and sparking discussions about morality.

Aksharangal (1984) and Aalkoottathil Thaniye (1984) – both done by I. V. Sasi & M. T. Vasudevan Nair combo, gave state award for best actress for Seema. The same team gave another superhit the following year – Anubandham. Interestingly Mammootty starred in all these 3 films while Mohanlal appeared in Aalkoottathil Thaniye and Anubandham. Yet Seema played the central character in all these films. Aaroodam (1983), Ente Kadha (1983) and Edavazhiyile Poocha Minda Poocha (1979) are few more memorable works penned by M. T where Seema played the central character.

M. T. Vasudevan Nair wrote Malayalam’s best female characters

Without any doubt M. T created some of the most layered, strong, and emotionally complex female characters in Malayalam literature and cinema, which are regarded as timeless. In fact, some of his characters are way ahead of time and still relevant. His female characters were neither idealized nor villainized — just kept deeply real or in grey shades, which other screenwriters fear to depict.

Apart from some of characters mentioned above, he wrote numerous fictional female characters which stayed close to reality. MT wrote his first screenplay in 1965 for Murappennu, which portrayed Sharada in a strong female lead. His national award-winning works portrayed strong female leads – Madhavi through Oru Vadakkan Veeragatha (1989) and Mohini through Parinayam (1994). Vilasini in Kuttyedathi (1971) and Nirmalyam (1973), Ambika in Neelathamara (1979), Menaka in Oppol (1980), Srividya in Aaroodam (1983), Geetha in Panchagni (1986), Monisha and Saleema in Nakhakshathangal (1986), Geetha in Rithubhedam (1987), Saleema in Aranyakam (1988), Suparna and Geetha in Vaishali (1989), Manju Warrier in Daya (1998), and Jomol and Chanchal in Ennu Swantham Janakikutty (1998) are other major works, where he wrote powerful female characters. His association with Hariharan gave some master class films to Malayalam cinema.

Clara of Thoovanathumbikal – A symbol of feminine freedom

Padmarajan’s classic Thoovanathumbikal (1987) is widely regarded as his best work. Sumalatha played an independent woman, Clara with much conviction breaking many stereotypes and this character is widely seen as man’s fantasy lover. Independent but vulnerable, she was a representation of modern woman, the time when the film was released. His female characters have been different from one another, and they showed strong character traits. He wrote fine scripts for Bharathan and I. V. Sasi; some of them became landmark films.

Shobha in Shalini Ente Koottukari (1978), Jayabharathi in Rathinirvedam (1979), Surekha in Thakara (1980), Shari in Namukku Parkkan Munthirithoppukal (1986), Karthika and Shari in Desatanakkili Karayarilla (1986) – perhaps the first Indian film which talked about womance and LGBTQ depictions, Shobana in Innale (1990) and Suparna in Njan Gandharvan (1991) are some of his female leads which Malayalis will never forget.

Ezhuthapurangal and other major female centric films of 1980s

Ezhuthapurangal (1987), directed by Sibi Malayil and scripted by Lohithadas, portrayed three powerful female characters – Suhasini, Ambika and Parvathy. A movie dedicated to feminism, it fearlessly explores the inner worlds of three educated, urban women — their professional struggles, emotional loneliness, their struggles against society to make their own bold decisions and search for identity in a patriarchal society. Without any kind of melodrama, the movie connected with audience’s hearts and delivered what it was meant to be.

1980s was truly the golden decade for female-centric Malayalam cinema, with great writers and directors who explored the complexities of female thoughts. Poornima Jayaram in Manjil Virinja Pookkal (1980), Shanthi Krishna in Ithu Njangalude Katha (1982), Jalaja in Yavanika (1982), Nalini in Lekhayude Maranam Oru Flashback (1983), Srividya in Rachana (1983), Suhasini in Koodevide (1983), Padmini & Nadhiya Moidu in Nokkethadhoorathu Kannum Nattu (1984), Shobana in Yathra (1985), Gomathi in Arappatta Kettiya Gramathil (1986), Radha and Menaka in Revathikkoru Pavakkutty (1986), Shobana in Chilambu (1986), Sharada in Oru Minnaminunginte Nurungu Vettam (1987), Suhasini in Manivathoorile Aayiram Sivarathrikal (1987), Revathy in Kakkothikavile Appoppan Thadikal (1988), Renjini in Chithram (1988) and Mukunthetta Sumitra Vilikkunnu (1988), Anju in Rukmini (1988) and Urvashi in Mazhavilkavadi (1989) and Ulsavapittennu (1989) are some of the memorable female roles which won’t fade easily.

Shobana, Urvashi and Manju Warrier played the most powerful women centric roles in 1990s

1990s is gifted with some of the most talented actresses like Shobana, Revathy, Urvashi and Manju Warrier, who together represent early era of modern generation Malayalam cinema. Most of their films have repeat value, and their characters are even loved by new generation kids.

Shobana’s portrayal of Ganga/Nagavalli in Manichitrathazhu (1993) is widely regarded as the most powerful and popular female lead of Malayalam cinema. Though Mohanlal played male lead in this psychological thriller, it was Shobana who stole the show. Shobana bagged National award for best actress, and Malayalis unanimously made her the queen of Malayalam cinema. A few months back, Aakashadooth starring Madhavi was also released same year. No other movie has made Malayalis cry this much. The lead character played by Madhavi brings a lot of pain to our hearts even now. When we talk about popular female characters of Malayalam cinema of 1990s, these two characters are placed at top, and interestingly both the movies were released same year.

When it comes to first half of 1990s, Shobana and Urvashi dominated the film industry, while the second half exclusively belongs to Manju Warrier. Some of the powerful roles of Shobana include – Innale (1990), Meleparambil Aanveedu (1993), Manathe Vellitheru (1994), Thenmavin Kombath (1994), Minnaram (1994), Mazhayethum Munpe (1995) and Agni Sakshi (1999). During her second innings, she did impactful roles in Thira (2013) and Varane Avashyamund (2020).

Many of the roles of Urvashi which were less noticed in the 1990s gained cult status in the next millennium. Though she has frequently worked with Mohanlal and other big stars of the industry, she left a mark in every role she did. She handled both characters with emotional depth and comic elements with ease, making her the most versatile actress of Malayalam cinema. Some of her best works in 1990s include Thalayanamanthram (1990), Kadinjool Kalyanam (1991), Kakkathollayiram (1991), Bharatham (1991), Midhunam (1993), Kalippattam (1993), Pidakkozhi Koovunna Noottandu (1994), Kazhakam (1996) etc. After a break, she returned in a bang with Achuvinte Amma (2005), which bagged her the National award for best supporting actress. She won the same for the second time for Ullozhukku (2024).

Revathy also portrayed some of the memorable female lead roles, since late 1980s. Revathi in Kilukkam (1991), Devasuram (1993) and Mayamayuram (1993), all co-starring with Mohanlal are counted among her career best performances. Now she is a seasonal actress in Malayalam cinema, and her work in 2021 horror thriller, Bhoothakalam was well appreciated.

Manju Warrier fully dominated the second half of 1990s

Right from her debut flick, Sallapam (1995), during her brief first innings of 5-6 years, she outshined all her contemporaries and went on to become the most sought actress of Mollywood. From 1996 to 1997, she won Filmfare best actress award in a row for her performances in Ee Puzhayum Kadannu (1996), Kaliyattam (1997), Aaram Thamburan (1997), Kanmadam (1998), and Pathram (1999). She also won Special Mention at 1999 National film awards for her female centric role in Kannezhuthi Pottum Thottu (1999). Other women-centric roles include Krishnagudiyil Oru Pranayakalathu (1997), Pranayavarnangal (1998), Daya (1998) and Summer in Bethlehem (1998). She had a glorious comeback with How Old Are You? in 2014. But the roles she played in the last one decade or so failed to create the same impact she did during her teens.

Some special mentions of strong female roles of 1990s

Amala in Ente Soorya Puthrikk (1991), Bhanupriya in Rajashilpi (1992), Mohini in Parinayam (1993), Shanthi Krishna in Chakoram (1994), Jomol in Ennu Swantham Janakikutty (1997), Shalini in Aniyathipravu (1997), Sangita in Chinthavishtayaya Shyamala (1998), Divya Unni in Pranayavarnangal (1998), Divya Unni & Mayoori in Aakasha Ganga (1999) and Samyuktha Varma in Veendum Chila Veettukaryangal (1999).

New millennium, new cinema, new age women

Until 1990s, women were mostly portrayed as traditional, mostly saree cladded in Mollywood. Towards late 1990s, it saw a natural shift, and thanks to some memorable roles did by Manju Warrier, though she fully missed the 2000s until mid-2010s. Shalini also had a brief but impactful career alongside Manju, and both disappeared altogether. The trend started by Manju was followed by many stars like Meera Jasmine, Bhavana, Mamta Mohandas, Rima Kallingal and many more. Yet traditional roles were carried forward by actresses like Kavya Madhavan, Navya Nair, Samvritha Sunil etc. When early and mid-2010s New Wave Generation strike Malayalam cinema too, and actresses like Nazriya Nazim, Parvathy Thiruvothu, Remya Nambeesan, Nimisha Sajayan, Aishwarya Lekshmi and Rajisha Vijayan created a niche of their own, breaking all stereotypes.

Some of the contemporary and emerging talents include Anna Ben, Darshana Rajendran, Grace Antony, Aparna Balamurali, Rejisha Vijayan, Anaswara Rajan, Kalyani Priyadarshan, Zarin Shihab etc. The era of fair and good-looking beautiful heroines is gone and audience have started accepting talents irrespective of looks and it’s a good sign of growing Malayalam cinema. Glamour is no more a criteria, and girls with next-door look are given warm welcome. Another positive aspect is, heroines are now choosing meaty roles and even expressing their likes and discomforts openly, though it irks many.

Swapnakoodu became a trendsetter in the early 2000s

With late 1990s, many newcomers have arrived in Malayalam cinema, and made a creative impact in the early 2000s. Campus oriented and youngster movies with fresh music also started receiving attention. Swapnakoodu (2003) had a bunch of actors, with Meera Jasmine and Bhavana playing strong female leads. Nandanam (2002) is one of the best female centric films of 2000s, where Navya Nair portrayed a Krishna devotee. Her roles in Kunji Koonan (2002), Kanne Madanguka (2005) and Saira (2005) also worth mentioning.

Apart from Swapnakoodu, Meera Jasmine did female centric films like Paadam Onnu: Oru Vilapam (2003), Kasthooriman (2003), Perumazhakkalam (2004), Achuvinte Amma (2005), Ore Kadal (2007) etc. Though Kavya Madhavan began her career in late 1990s, her best performances came in 2000s. Her performances in Meesa Madhavan (2002), Mizhi Randilum (2003), Anandabhadram (2005), Classmates (2006), Vasthavam (2006), etc placed her as the top actress of 2000s. After a brief break following her marriage, she made a great comeback through Kamal’s Gaddhama (2011), which bagged her Kerala state award for best actress.

Other notable performances include Nandita Das in Kannaki (2001), Samyuktha Varma in Madhuranombarakattu & Mazha (2000) and Meghamalhar (2001), Sheela in Manassinakkare (2003), Geetu Mohandas in Akale (2004), Padmapriya and others in Naalu Pennungal (2007), Priyamani in Thirakkatha (2008), Swetha Menon in Paleri Manikyam (2009) etc

2010s – New positive shift in female roles

2010s saw numerous emerging talents with distinct voices, as mentioned above. There was a significant shift in Malayalam cinema toward strong, independent, and realistic female characters, where she was longer a love interest or wife alone. It was a change of time, and women started exploring new genres of movies. Actresses like Nazriya Nazim, Nimisha Sajayan, Anna Ben and Parvathy made a great impact in Mollywood cinema, which slowly shifted to new-wave, content driven realistic cinema.

One of the early shifts was the character played by Remya Nambeesan in 2011 thriller, Chaappa Kurishu, followed by Rima Kallingal in 22 Female Kottayam (2012). Nazriya Nazim’s roles in Ohm Shanthi Oshaana (2014) and Bangalore Days (2014) played a magnificent role in shaping modern age cinema. Her role in Koode (2018) can also be noted. Sai Pallavi played an adorable and strong character Malar in her film debut, Premam (2015). Though the movie rests on Nivin Pauly’s shoulders, Malar Teacher stands out as a defining female role of the 2010s in Malayalam cinema. The impact of Malar Teacher crossed borders, and she got a big fan following base in Tamil Nadu and other states. Now Sai Pallavi is one of the most successful actresses, widely known across the country, and her role in Premam played a magnificent role in shaping her career. Now she is mostly doing female centric roles across the industries.

Swetha Menon in Kalimannu (2013), Ann Augustine in Elsamma Enna Aankutty (2010) and Artist (2013), Manju Warrier in How Old Are You (2014), Manju Warrier and Rima Kallingal in Rani Padmini (2015), Parvathy Thiruvothu in Ennu Ninte Moideen (2015), Take Off (2017) and Uyare (2019), Rajani Chandy in Oru Muthassi Gadha (2016), Rajisha Vijayan in Anuraga Karikkin Vellam (2016) and June (2019), Aishwarya Lekshmi in Mayaanadhi (2017), Wamiqa Gabbi in Godha (2017), Manju Warrier in Udaharanam Sujatha (2017) and C/O Sairabanu (2017), Nimisha Sajayan in Thondimuthalum Driksakshiyum (2017), Anna Ben in Helen (2019) and Kumbalangi Nights (2019), Surabhi Lakshmi in Minnaminungu (2019), Grace Antony in Kumbalangi Nights (2019), Kani Kusruti in Biriyaani (2019) and Shobana in Varane Aavashyamund (2019) are more realistic and they discussed various social issues through the roles they portrayed.

Post-Covid era and new trendsetters

It was OTT boon for Malayalam cinema, and during the covid season, Malayalam movies started receiving pan-India appeal. Actresses started choosing socially relevant narratives, and performance-heavy projects which is creating new benchmarks in Malayalam cinema. The Great Indian Kitchen (2021) starring Nimisha Sajayan was released in OTT, and got overwhelming response. The movie, later remade to Hindi also created a great impact on OTT audience, where the movie was very much discussed across different platforms.

Noted female centric films include – Kappela (2020) starring Anna Ben, Jaya Jaya Jaya Jaya Jay (2022) starring Darshana Rajendran, Super Sharanya (2022) starring Anaswara Rajan, Ariyippu (2022) and All We Imagine as Light (2024) starring Divya Prabha, Rajisha Vijayan in Pakalum Paathiravum (2023), Sookshmadarshini (2024) starring Nazriya Nazim, B 32 Muthal 44 Vare (2023) and Aattam (2024) starring Zarin Shihab and the most recent Lokah Chapter 1: Chandra (2025) starring Kalyani Priyadarshan which created history and shattered a dozen of collection records.

Now Mollywood is no longer a small industry with less audience, but one of the leading industries praised for delivering films with good stuff and quality content, without losing the touch of realism. Let’s hope, with the success of Lokah Chapter 1: Chandra, a new era of Mollywood is born, which gives more importance to strong female characters resonating with present times.