The fire brand script writer of Mollywood Renji Panicker is one among a few who had given great hit dialogues and characters in Mollywood through his screenplays. Renji Panicker had wrote for al super stars of Mollywood including Mohanlal, Mammootty and Suresh Gopi in his long career as a writer. The mass action films written by Renji Panicker always has long dialogues and great heroic acts which make the audience thrilled. He had great association which film makers like Shaji Kailas and Joshiey who likes to make these kinds of films as well.
But when comes to his association with Super stars of Mollywood he had written 8 screenplays for Suresh Gopi and four screenplays for Mammootty. But he written only one screenplay for Mohanlal who is undoubtedly the biggest crowd puller in Mollywood or the best mass hero mollywood had ever seen here. It was Praja directed by Joshiey that in which Renji Panicker had wrote the screenplay for Mohanlal.
Renji Panicker says what is the reason behind that actually. According to him Renjith’s writing style is perfect for Mohanlal and his writing style is perfect for Mammootty and Suresh Gopi. Renji says that when he gives dialogues which may have 4-5 pages length and narrates that dialogues to Mohanlal, he says that not narrate that dialogue in Renji’s meter which is causing confusion to him. He has a different rhythm of saying dialogue. It is not Mohanlal’s fault but it is with every actor. But some has the same rhythm as of Renji panicker and that are Mammootty and Suresh Gopi. Mohanlal’s rhythm is more connected with Renjith’s style of writing.
But Renji admits that Mohanlal had done a terrific job in Praja while he was uttering the dialogues which is almost 4-5 pages length. He also says that it is not the performance that was the issue but it is the sync between a writer’s meter and an actor’s meter. Mohanlal had that great sync with Renjith and it is evident in their films starting from their earlier films to films like Aaram Thamburan, Narasimham and then now in Loham as well.
