Jayaram first started out as a mimicry artiste, honing his skills at the famous Kalabhavan. He then drifted to playing the chenda (temple drum) with distinction and when the opportunity arose, made a transition to the silver screen. He was baptised into cinema by one of the most gifted scriptwriters of the time, Padmarajan, in the film Aparan. Jayaram made his mark right away and Padmarajan repeated him in his very next film, Innale.
Making his debut in 1988, Jayaram has, in over two decades, done a variety of roles. At times, he has also worked in multi-starrers with Mammooty and Suresh Gopi in Dhruvam and Joker; in Chithram, Utsavapittenu and Advaitam with Mohanlal. Although the leading stars had meaty roles in the aforementioned films, Jayaram too found enough opportunity to display his acting prowess.
He was also noticed in films like Kedi and Malooty (Bharathan), Summer in Bethlehem (Sibi Malayil), Advaitham (Priyadarshan), Kadhanayakan, Aniyan Bhava Chettan Bhava directed by Rajasenan, Friends (Siddique) Shubhayathra (Kamal) and Nanma Niranjavan Srinivasan (Viji Thampi). However, most of Jayaram’s hits have been with one of the most successful directors in Malayalam cinema, Sathyan Anthicaud. He has worked with him in Ponmuttayitta Tharavu, Thooval Kottaram, Veendum Chila Vishesha Karyangal, Yatharakkarude Sradhhaiku and Kochu Kochu Santhoshangal.
Jayaram has worked with talented actresses in Malayalam cinema and his film, Manasinakkare with Sheela, an emotion laden entertainer, was a runaway hit. His role in Thooval Kottaram won him the Filmfare Award and the Kerala State Award for best actor. Significant among his later day films are China Town directed by Rafi-McCartin, Seniors (Vysakh), and Make up Man and Veruda Oru Bharya, scripted by Gireesh Kumar and directed by Akku Akbar.
Jayaram’s Malayalam films have catered mainly to family audiences as the themes revolved mostly around social issues. The actor has always refrained from taking on roles that had violent scenes or were concerned with issues that could stir a hornet’s nest. This has enabled him to maintain a clean image. In fact, he has specialised in roles that have a tragi-comic thread running through them and films like Nanma Niranjavan Srinivasan, where he essayed the role of a chicken-hearted police constable, is still remembered by his fans.
Jayaram has not just confined himself to Malayalam cinema but has also worked in Tamil cinema where he has not shied away from accepting films with senior stars. Kamal, who always had a soft corner for Jayaram, offered him films like Thenali and Panchathanthiram, both of which were directed by renowned Tamil director K S Ravikumar. Jayaram’s flair for comedy was fully tapped in these films and Jayaram matched his timing with Kamal whose proficiency in such roles has always won him great acclaim.
He also shared screen space with two of Tamil cinema’s finest comedians — Gaundamani and Senthil — in the laugh riot Murai Maman where Khushboo played his love interest. Not averse to donning the villain’s garb either, Jayaram showcased a different side to him as an actor through films like Saroja, directed by the up-and-coming Venkat Prabhu, and Dham Dhoom, which had Jayam Ravi in the lead. Jayaram also landed a plum role in the period film, Ponnar Shankar, scripted by the ex-chief minister of Tamil Nadu, Karunanidhi.
A Tamilian by birth, Jayaram has a good following in Tamil cinema, but with his hands full with Malayalam projects he hardly finds time to devote to Tamil films.
A piece of dialogue in the film Happy Husbands earned him the ire of a section of Tamils and Jayaram’s house in Chennai was vandalised by hoodlums resulting in the loss of a lot of memorabilia. Jayaram regretted more than anything the loss of the National Award certificate won by his son Kalidas, who was adjudged the best child actor for the film Kochu Kochu Santhoshangal. What was regrettable was that the arson was unleashed after the actor had tendered an unconditional apology in the media and had also stressed on the fact that he was a Tamilian by birth and would do nothing to hurt Tamil
sentiments.
Jayaram’s biggest achievements has been the Padma Shri, awarded a couple of years back. He is married to his one-time co-star Parvathi, who in her heydays, was one of the most popular heroines in Malayalam cinema. Dividing his time between Mollywood and Kollywood, Jayaram is one of those stars who strikes a rapport with his audience right from the first frame of the film.
Although he has a perfect sense of comic timing, which makes him an obvious choice for comedy films, Jayaram has taken adequate care not to get stereotyped and has often turned down films where he had to simply clown his way around without having to do anything substantial. This, perhaps, is the reason for his longevity in the industry and is instrumental in his being able to hold his own despite intense competition from the new crop of heroes in Malayalam cinema like Prithviraj, Kunchako Boban and Jayasurya.