Salim Kumar Actor Obituary Tribute Malayalam Cinema Comedy National Award Death

introduce a new style of acting to Malayalam cinema. While the comedic wizards who came before him ensured that no two performances of one resembled each other — even while employing their signature styles often — this was not the case for Salim.

A close look at Meesa Madhavan’s Advocate Mukundanunni, Kunjikoonan’s Chandran, Kalyanaraman’s Pyarilal, and Pulival Kalyanam’s Manavalan — some among the many characters that the actor immortalised — might lead one to wonder if they are all long-lost cousins. There indeed are similarities among them. Yet, Salim’s absolute brilliance lay in his ability not to make the audience feel that. Or, even if they did, the hilarity he delivered was so impactful that the masses simply did not care.

And that, in my opinion, was predominantly because he knew his jokes very well. Not by heart, but rather in terms of their essence, metre, setup, punchline, and more. There have been far too many times when I felt that his commitment was not to the audience but to the jokes themselves. As if his aim was never to make the audience laugh, but rather to deliver the jokes or comedic acts perfectly, knowing well that the laughs would follow.

Salim Kumar loved humour so much that he consistently ensured that no good joke fell flat or passed by without the recognition it deserved, and his performance was simply a tool for their personification, amplifying their brilliance. In fact, the actor himself has spoken about instances where, if he loved a joke that didn’t make it into the final cut of a film, he would make a mental note of it and later rework and use it in a completely different scenario in another movie, giving it a new lease of life.

Much like many of his contemporary comedians in Malayalam cinema, Salim Kumar also began his career as a mimicry artiste at Cochin Kalabhavan, a renowned institute for teaching performing arts in Kochi that has contributed several talents to Kerala’s cultural domain over the decades. Although he entered Tinseltown with a small role in Ishtamanu Nooru Vattam (1996), it was his stint on the popular Asianet comedy show Comic Cola that earned him fame.

While he subsequently delivered notably hilarious performances in movies such as Mannadiar Penninu Chenkotta Checkan, Mattupetti Machan, My Dear Karadi, and Melevaryathe Malakhakkuttikal, it was director Viji Thampi’s Sathyameva Jayathe that helped him capture the attention of both the audience and industry insiders alike.

In between, Salim even appeared in the softcore adult film Kinnarathumbikal, headlined by Shakeela, which marked the beginning of the Shakeela tharangam (wave) that defined Malayalam cinema’s trajectory for the next few years. However, Salim himself once told Saina South Plus that he took on the film because he was told it was an “award (art) movie,” like those made by master filmmaker Bharathan, and hence had a few sex elements. When the producers failed to find distributors for the movie, the explicit scenes were filmed and added later. Although Salim wasn’t part of any such scenes, his repertoire still featured a softcore film.

Nonetheless, his noteworthy performance in Sathyameva Jayathe, albeit in a small role, helped Salim Kumar secure better parts in bigger movies. From Thenkasipattanam’s Muthuraman and Ee Parakkum Thalika’s Koshy, to Sundara Purushans’ Balan, One Man Show’s Bhaskaran and Soothradharan’s Leela Krishnan, he received a handful of substantial comedic roles in the aftermath, and the actor ensured impressive performances every time, winning the hearts of the audience.

It would not be an exaggeration to say that 2002-2005 belonged fully to Salim Kumar, as he kept delivering iconic performances one after the other. While the biggest benefit he received during this period was undoubtedly that noted writers and directors of the era — such as Benny P Nayarambalam, Shafi, Rafi Mecartin, Johny Antony, and Udaykrishna-Sibi K Thomas — created hilarious scripts packed with back-to-back comedic moments and impactful one-liners, Salim had the unique ability to elevate the humour to the next level with his in-tune performances.

In a way, he may have torn a page from the playbook of comedic icons such as Cochin Haneefa and Jagathy Sreekumar, who ensured they added to a scene’s overall hilarity through shenanigans or reactions, even when the camera wasn’t focused on them.

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Take Rafi Mecartin’s Chathikkatha Chandu and Shafi’s Kalyanaraman, for instance. While it’s mostly his hysterical one-liners and the hilarious way he delivered them, using both his voice and physique to amplify the humour, that earned him significant praise, the excellence in his performances transcended that. Even when he wasn’t the focal point in certain scenes, Chathikkatha Chandu’s dance choreographer Vikram and Kalyanaraman’s Pyarilal never missed a chance to add to the character’s comedic essence.

Be it when Vikram applies a hot water bag on himself after being beaten up by the police or when Pyarilal is taking a foam bath in a large vessel used for cooking, this was evident. The subtle reactions he gave while standing in the background to his fellow actors’ lines in various scenes were actually easter eggs, adding to the scenes’ humour during later rewatches.

Nonetheless, it was the way he delivered the jokes that made Salim Kumar who he was. Look at the following lines:

* “Kaanaan oru lookillenne ullu, bhayangara budhiya.”

* “The two families attached to the bathroom, your family’s food and accommodation!”

* “Enikku praanthayi poyathana, atho naattukaarkku motham praanthaya?”

* “Ee bloody Indians and Malayalees pranju nadakkunnu, enikku Dufaiyil kooli paniyanennu.”

* “Ee Saamoothiri, Namboothiri ennoke keetitundu… ee mindaathri etha jaathi?”

* “Ee kadhina pottana kanumbo enikkente achane orma varum…”

* “Entha sir cut paranjathu, kooduthal nannayo?”

* “Ninte keepayi irikkan thaalparyamundennalle?”

* “Daivame, eth thendiyaanu ee ‘welcome’ kandupidichath?!”

* “Ithiri alankolappani maathram baakki ind.”

* “My biological name is Michael alias Jackson alias Vikram alias…”

* “Ente ponnoo venda… Enatu kaash illannu parayumbo thaadikkittu thattaan alle?”

I have purposely avoided mentioning the names of the movies in which Salim delivered these lines, knowing that those familiar with his work will not only recognise which film they are from but also the specific scenes, and will even read them in his voice. That was Salim Kumar’s mastery. He not only immortalised his characters and performances but also the jokes.

While most other comedians focused on their portrayals, trying to imprint themselves and the characters as a whole on audiences’ hearts forever, Salim was inseparable from the jokes. It was as if the jokes knew him as well, seamlessly seeping into his psyche and reemerging through his voice in the perfect form and pace. Even when the differences between his characters were limited to their appearances and certain traits, Salim knew how to deliver his lines impeccably, thanks to his real-life ability to narrate stories well.

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Even though physical comedy wasn’t his strongest suit, Salim knew how to use his body to amplify the humour in the dialogues and moments. Almost like 1960s’ actors who exaggerated their expressions and gestures — as theatre performers used to — Salim also employed similar techniques. He would even use his eyes as if in a melodramatic scene while delivering the lines, adding to the humour.

The slight shivers, rhythmic and dramatic hand gestures, and even the way he walked in certain moments all elevated the comedy. The actor’s talent was such that he made a massive section of the populace laugh even while watching disgustingly problematic portrayals in movies such as Mazhathullikkilukkam and Bamboo Boys, which abhorrently ridiculed tribals.

Much like many comedic legends in Malayalam cinema, Salim Kumar was a powerhouse performer who also left audiences spellbound with his intense, dramatic performances whenever he took on serious roles. Gramophone’s ‘Tabla’ Bhaskaran, Achanurangatha Veedu’s Samuel, Vaasthavam’s Thrippan Namboodiri, Mulla’s ‘Thotti’ Sasi, Adaminte Makan Abu’s Abu, the protagonist in Karutha Joothan, and Queen’s Advocate Mukundan are just a few examples of his astounding performances in more dramatic roles.

Besides earning the National Film Award for Best Actor for his performance in Adaminte Makan Abu, Salim Kumar also received four Kerala State Film Awards over the years, including Best Story for Karutha Joothan. He also donned the director’s hat three times, making Compartment, Karutha Joothan, and Daivame Kaithozham K Kumar Akanam.

Salim Kumar was also inseparable from politics. In fact, his father was an ardent follower of the renowned social reformer Sahodaran Ayyappan and named him Salim Kumar as a response to the social evil of the caste system, so that one couldn’t recognise his caste from his name.

A staunch supporter of the Indian National Congress, Salim never shied away from publicly backing the party, even appearing before and addressing the masses during its electoral campaigns.

He was also deeply interested in farming, and according to news agency PTI, owned agricultural land in North Paravur and Vypin, where he cultivated Pokkali rice and vegetables. He was also involved in fish farming. During the devastating 2018 Kerala floods, he opened the doors of his residence, Laughing Villa, in North Paravur to about 45 people seeking shelter after floodwaters entered their homes, providing them with food and accommodation.

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Although Salim Kumar never shied away from speaking his mind, the extremely distasteful comments he made about the 2017 Kerala actor assault case — shaming the survivor and throwing his weight behind his longtime friend Dileep, accused of masterminding the crime — received significant backlash. While he often claimed that he didn’t believe Dileep would ever do what he had been accused of, Salim once even went so far as to demand that the survivor be subjected to a lie detector test.

Salim Kumar passed away at the age of 56 on Saturday, June 6, while undergoing treatment for liver disease at a private hospital in Kochi. The cause of death was cardiac arrest. He is survived by his wife Sunitha and their two sons, actor Chandu Salim Kumar and Aaromal Salim Kumar.

Anandu Suresh is a distinguished Deputy Copy Editor at The Indian Express Online, where he serves as a leading voice in cinematic critique and industry analysis. With over six years of rigorous experience in the media landscape, he has established a reputation for incisive, long-form commentary that bridges the gap between commercial cinema and art-house narratives. Experience & Career Anandu’s professional journey is rooted in a deep academic and practical foundation in the humanities and communication. He holds a Bachelor's degree in English Language and Literature and a PG Diploma in Journalism and Communication. Before ascending to his current editorial leadership role at The Indian Express, he honed his skills on the news desk of The New Indian Express in Hyderabad. His career is marked by a transition from core news operations to specialized cultural journalism, allowing him to bring a structured, news-oriented rigor to the entertainment beat. Expertise & Focus Areas While Anandu’s portfolio spans the global cinematic landscape, he is widely regarded as an expert in Malayalam Cinema. His unique approach to film criticism is defined by: Cinema Anatomy: A dedicated column where he deconstructs the structural layers of films to uncover deeper sociopolitical meanings. Marginalized Narratives: A commitment on-ground and analytical reporting on how cinema represents or fails marginalized communities. Critiquing "Performative Wokeness": Rigorous analysis of modern filmmaking trends, identifying the difference between authentic representation and superficial social commentary. Multimedia Discourse: Actively fostering continuous public dialogue on cinema through digital platforms and archival research. Authoritativeness & Trust Anandu Suresh is a trusted authority in the film journalism circuit, frequently providing exclusive coverage from major international festivals like the International Film Festival of Kerala (IFFK). His work goes beyond standard reviews; he is known for holding the industry accountable, as seen in his extensive reporting on sensitive issues like the 2017 Kerala actress assault case and the legal complexities surrounding film credits. By prioritizing "Journalism of Courage," Anandu ensures his readers receive commentary that is not only intellectually stimulating but also ethically grounded and factually robust. ... Read More