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When legendary filmmaker Adoor Gopalakrishnan, long canonised as the moral centre of Malayalam cinema, objected to a government scheme offering grants to first‑time filmmakers from Scheduled Caste and Scheduled Tribe communities and women, his remarks – suggesting that most recipients were not properly qualified, that they should undergo training, and that the amount should be slashed – were widely condemned as caste‑coded anxiety. The backlash, and his subsequent dismissal of a Dalit woman critic as a “non‑entity” and a “passer‑by”, revealed “the grammar of who is seen and who is erased, who is heard and who is silenced. And that grammar, let us be clear, is caste”.

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By the late 1980s and through the 1990s, both ascended to a level of stardom that Malayalam cinema had rarely seen before. Mammootty’s portrayal of Vaikom Muhammad Basheer in Adoor Gopalakrishnan’s Mathilukal (1990) was listed by Forbes India among the 25 greatest acting performances in Indian cinema. Mohanlal rose to superstardom with Rajavinte Makan (1986), shot in 32 days on a ₹40 lakh budget. Together, they have around 800 films between them. user wants a long article about Malayalam cinema and culture