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Asha Kelunni Nair (born 8 July 1966), better known by her stage name Revathi, is an Indian actress and director, known for her works predominantly in Tamil and Malayalam cinema - in addition to Telugu, Hindi and Kannada films.[3][4]She was one of the most successful leading actresses of South Indian cinema and has won several accolades, including three National Film Awards, and six Filmfare Awards South.[5] She has also won the Kerala State Film Award for Best Actress for her performance in Bhoothakaalam (2022).[6]
Revathi was born as Asha Kelunni Nair in Cochin (present-day Kochi) to Malank Kelunni Nair, a major in the Indian Army, who hails from Palakkad, and Lalitha Kelunni who hails from a Palakkad Tamil family.[3]
When she was in school, she took part in a fashion show. Group photos were taken during the show and a photo was chosen to be the cover of a popular Tamil magazine. This happened to be her photo, which was seen by the director Bharathiraja, who at that time was on the lookout for a new heroine for his latest venture, Mann Vasanai.[7][8]
Revathi married cinematographer and director Suresh Chandra Menon in 1986. The couple didn't have any children. However, following differences between them, they started living separately from 2002 and were granted divorce on 23 April 2013[20] by Chennai Additional Family Court.[21]
Revathi is a trained Bharatanatyam dancer, having studied since the age of seven and performed her arangetram in Chennai in 1979.[23] She has been considered one of the all-time top actresses of Tamil cinema and South Indian cinema. She was one of the most successful leading actresses of South Indian cinema. Revathi was the only South Indian actress of 80s and 90s to win the Filmfare best actress award in Tamil, Telugu and Malayalam, including three consecutive wins in Tamil. Apart from films, Revathi has been involved in a variety of social organisations, the most notable being the Banyan, Ability foundation, Tanker foundation and Vidyasagar, and has also served as a member of several film festivals including the Chennai International Film Festival and the International Film Festival of India.[24]
Asha Kelunni better known by her stage name Revathi, is an Indian actress and director, known for her works predominantly in Tamil cinema- in addition to Malayalam, Telugu, Hindi & Kannada films.[1] She has won several accolades, including the National Film Awards in three different categories, and six Filmfare Awards South.[2] She is one of the most successful leading actresses of South Indian cinema.
When I look back, Mouna Ragam still feels fresh. When I meet Mohan or Mr. Mani Ratnam, it still feels like we were shooting for the film only recently. Also, I did Mouna Ragam at a strange juncture in my life. It was just before my marriage.
Did the addition of his character somehow make it seem like Divya was moving from one man to another, when the main idea perhaps had more to do with her imminent loss of independence?
I liked mr. Mohan because of his character movie holds you. I never liked kartik revati portions because of this,the movie ended up in just a feel good movie rather than intense and sensetive. Revati is just a tamil audience.
She has stood out for judiciously choosing interesting roles. Her performing skills have exploded in films as wide-ranging as Udhaar Ki Zindagi, Gupt, Pyaar To Hona Hi Tha, Kuch Kuch Hota Hai, Dushman, Kabhi Khushi Kabhie Gham, U Me Aur Hum, Tribhanga and more. She was a key part of several blockbusters like Baazigar, Karan Arjun, Ishq and Tanhaji: The Unsung Warrior.
Revati Laul is an independent journalist and film-maker. She is the author of The Anatomy of Hate (2018). The book is the first-ever account of the perpetrators of the 2002 pogrom against Muslims that took place in the state of Gujarat in India. Revati has worked for NDTV and Tehelka, and also written for publications like The Quint, Scroll.in and The Hindustan Times. She is based in New Delhi.
What makes a man stand by and watch violence being done to another? What does a woman do after her husband has killed a pregnant stranger? What latent tensions and complexes did the instigators of ... Read More
is a medical officer with the government of Jharkhand. His stories and articles have been published in Indian Literature, The Statesman, The Asian Age, Good Housekeeping, N BRIJESH AMBER Amrita Chhachhi Amrita Chhachhi, Senior Lecturer, Women, Gender and Development, Institute of Social Studies, The Hague, has published extensively on gender, labour and globalisation and citizenship, identity politic Kolya Dmitriev N/A Gayatri Chakravorty Spivak Gayatri Chakravorty Spivak, Avalon Foundation Professor in the Humanities and Director of the Center for Comparative Literature and Society at Columbia University, teaches English and the politics Lakshmi Holmstrm Lakshmi Holmstrm is an award-winning translator of Tamil fiction and poetry.
Actually, I can never forget it. It was a test shoot at Vijaya Gardens in Chennai. Barathiraaja sir just wanted to see how I looked on camera and I went wearing my jeans and a shirt. He asked me to run on one of those grass mounds and, you know, kind of look into the camera. I've been a classical dancer so stage was a part of me and I have done a little bit of theatre in school. So I was not conscious about the camera.
Soon after that he wanted somebody to make me wear a long saree and I took a royal fall because I've never worn that kind of saree before that. I didn't know how to carry it off and I took one royal tumble. That was my first shot, but it was not in the film.
The very same year, 1983, you had another extraordinarily film, Kattathe Kilikkoodu, with Bharathan. And you had a royal cast with Srividya, Mohanlal and Bharat Gopi. You said you were not conscious in front of the camera but this was still a league of its own, right? At that point, did something intimidate you or were you comfortable even at that stage?
Revathi: The thing is, I'm not a movie kid and I was not an avid film buff at that time. Being an army kid, film viewing was restricted to films my parents wanted us to see. For me, it was not about the personalities, you know. That didn't kind of intimidate me in any way. But I was in awe of Srividya. You know, the way she carried herself, her beauty, I would never take my eyes off her.
With Bharathan, Gopy ettan and Srividya, it was like one little institution without their knowledge. I was learning so many things and it was fabulous. Soon after that, I worked with Bapu sir in Telugu, then I worked with Mahendran sir. So my foundation was Barathiraaja, Bharathan, Bapu and Mahendran. What more can anybody want?
It was common but the thing is, it didn't take so many days of shoot for a film, you know. It was about thirty-five days, forty days maximum. So that was okay and, actually, my mother was my manager throughout. So she kind of took conscious effort to keep days in between schedules. That definitely made a huge difference. So, I had my space and I had my career.
No, no, I fell in love with it. I think in the first two or three films I really enjoyed doing what I was doing. I think playing another character, playing another person, I think that was just something that was in me. And it came out. I don't know, it just happened.
Revathi, you're also an important part of Women in Cinema Collective (WCC). It started in 2017. So this is going to be its fifth year. Two questions I want to ask you. One is, after becoming involved with this, do you feel as a director that you somehow want to tell women's stories or that part of you is saying, even if it's just about a man or a hero is a central story, I will still do that because it's the director part of it. Or has WCC and seeing what's happening around you made you want to say, I want to tell more women's stories?
My two films, Mitr, My Friend and Phir Milenge, both of them were women-centric. I think that comes naturally to me. So, yes, I will be telling stories and most of them would be women-centric. Basically because my emotions connect with women characters. The men are, you know, the men I have known in my life. The men are there but somehow I connect with the women characters. So that I think is something which happened to me and it's a personal choice.
But WCC has empowered me in a different way. There were so many aspects of filmmaking, of my workspace, that I just said, okay, this is how it is and this is how I need to handle it. This is how to diplomatically manage it. But why the diplomacy? Why can't we make it right? I think WCC is a bundle of knowledgeable people and we have shared so much with each other. So this has empowered me the last five years.
Sadly, not much but there is an awareness. There is an awareness especially in the Malayalam film industry. You know, somehow as an actor I've felt it was more problematic in the Malayalam film industry than any other. I feel there has been an awareness that there is something like this. Though they are, at the moment, kind of shunning it and shutting out of their perspective.
But I think in that way people have started thinking about it and talking about it. Understanding that there is a different perspective to everything in your workspace. It took a very long time just to make people understand the difference between consent and a "no". Maybe because I was an army kid, maybe because I grew up not understanding any kind of gender bias, not seeing it in my life, it was easy for me to handle from the beginning of my career. The thing about consent and "no" itself is a thing that everybody needs to understand.
Hridayam, a romantic comedy with its many songs and three appealing actors, became the most popular film, winning the best music award as well. Hesham Abdul Wahab, a composer who worked his way to the top, had experimented with a mix of genres, even bringing musicians from far-off Istanbul for Hridayam. Sithara Krishnakumar, a versatile voice and a very familiar face in music-related events in Kerala, won the best female playback singer for singing in Kaane Kaane, and Pradeep Kumar received the male singer award for a song in Minnal Murali.
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