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Sandesham
Theatrical release poster
Directed bySathyan Anthikad
Written bySreenivasan
Produced byS. S. T. Subrahmaniam
StarringThilakan
Sreenivasan
Jayaram
Siddique
Kaviyoor Ponnamma
Maathu
Oduvil Unnikrishnan
K. P. A. C. Lalitha
Sankaradi
CinematographyVipin Mohan
Edited byK. Rajagopal
Music byJohnson
Production
company
Evershine Productions
Distributed byEvershine Release
Release date
  • October 30, 1991 (1991-10-30) (India)
Running time
137 minutes
CountryIndia
LanguageMalayalam

Sandesam (transl. Message) is a 1991 Indian Malayalam-language political satire black comedy film directed by Sathyan Anthikad and written by Sreenivasan starring Thilakan, Sreenivasan, Jayaram, Oduvil Unnikrishnan, Siddique, Kaviyoor Ponnamma and Maathu. The film deals with political activism existing in Kerala and takes major digs on the political parties in the state. In the film, Raghavan, a retired railway employee, wishes to live the rest of his life with his family. However, he is forced to become a mediator and reconcile his two sons who feud over petty politics.

Sandesam is often regarded as a classic in Malayalam cinema.[1] The film was included in IBN Live's list of "100 Greatest Indian Films of All Time".[2][3][4] The film was remade in Tamil language as Veettai Paar Naattai Paar by director Thulasidas in 1994.

Plot

[edit]

After retirement from Indian Railways as station master, Raghavan Nair is back home. His long cherished dream to spend his retirement with his family consisting of his wife, three sons and two daughters gets a blow after witnessing his two sons brawling with each other over their political differences and the debilitating effect this has on the family. Prabhakaran, the elder one is a staunch leftist and an active worker of the Revolutionary Democratic Party (RDP), which has just lost the Kerala state Assembly elections and relinquished office. Prakashan, popularly known as KRP, Prabhakaran's younger brother is involved with the Indian National Secular Party (INSP) which has now come to power. Though they are both educated, neither has any plans to earn a living on their own and are fully immersed in petty politics, sponging off their parents for their needs.

Raghavan Nair becomes deeply worried about their future, and tries to advise his sons, but his admonitions fall on deaf ears. Aanandan, his son-in-law is a police sub-inspector, but on suspension. When RDP was in power, he had arrested and beaten up several of the opposition party workers on instruction from the ruling party officials. Now that the former opposition is in power, they exact their revenge; first by transferring him repeatedly to stations as remote as possible and then by suspending him.

As part of his retired life, Raghavan Nair decides to focus his attention on his agricultural activities and meets the new young agricultural officer Udayabhanu and with his wife's approval, wants their younger daughter Latika to marry him. But his elder sons oppose it for flimsy and petty reasons. Prakashan pulls some strings and gets him transferred immediately to a remote location in order to prevent the marriage, but Nair gets them married at the registrar's office.

In the meantime, Aanandan and his wife Lata (Raghavan Nair's oldest daughter) demand partition of the property and their share of the inheritance which Raghavan Nair objects to. The last straw is when their mother falls ill and is hospitalized and none of her children, especially the two older sons, show up at the hospital. Raghavan upon seeing all of them milling around his house on returning from the hospital, loses his temper. He kicks out all his children and orders them to never enter his house again. But to his surprise, he finds both Prakashan and Prabhakaran at the gate, fully repenting after Achu informs him. He calls them in and they begin a new life. Some time later we see Prabhakaran who has started work as a lawyer and Prakashan going for a job interview as part of his efforts to change and gain employment. At the same time, it is also seen that Prasanthan, the school-going youngest son of Raghavan Nair, has decided to form a student political organisation to conduct a protest at his school. But both his brothers having learnt their lesson the hard way, scold him and break the flag and banners he made. The movie ends here with the message clearly being delivered.

Cast

[edit]
  • Thilakan as Raghavan Nair (Retd. Station Master - Indian Railway), father of Prabhakaran, Prakashan, Latha, Lathika and Prashanthan
  • Sreenivasan as Prabhakaran Kottappalli a.k.a. Sakhavu Kottappalli a.k.a. Prabha, RDP
  • Jayaram as Prakashan Kottappalli / KRP (Kottappalli Raghavan Nair Prakashan), INSP
  • Oduvil Unnikrishnan as Achuthan Nair, friend of Raghavan Nair
  • Siddique as Udayabhanu (Lathika's husband and Raghavan Nair's son-in-law), an Honest Agricultural officer
  • Kaviyoor Ponnamma as Bhanumathi, wife of Raghavan Nair and mother of Prabhakaran, Prakasan, Latha, Lathika and Prashanthan
  • Maathu as Lathika, Raghavan Nair's younger daughter, Udayabhanu's wife
  • Mamukkoya as Mandalam President K.G. Pothuval, local leader of INSP
  • Sankaradi as RDP Leader Sakhavu Kumara Pillai, the leftist ideologue
  • Mala Aravindan as SI Aanandan, Lata's Husband, Raghavan Nair's oldest son-in-law.
  • K. P. A. C. Lalitha as Latha. Anandan's wife and Raghavan Nair's elder daughter
  • Innocent as Yashwant Sahai, the All-India joint-secretary of INSP (Cameo)
  • Bobby Kottarakkara as Sakhavu Uthaman, RDP member
  • Biyon as Santhosh, S.I. Aanandan's Son
  • Ambili as Anu, S.I. Aanandan's Daughter
  • T. P. Madhavan as C.I. Kannan
  • Rahul Laxman as Prasanthan, Raghavan Nair's youngest son
  • James as an INSP member
  • Kalabhavan Haneef as INSP Worker
  • Salim Kumar (uncredited role)

Soundtrack

[edit]
  • "Thumbappoo Kodiyuduthu" - K S Chitra, G. Venugopal, chorus

Legacy

[edit]

Sandesam is considered one of the best satire movies in the film industry.[5] Many of the dialogues still find their way into the daily conversation of Malayalees. The infamous pennukaanal scene and the Poland dialogue is still etched into the viewer's hearts. In 2016, on the occasion of India celebrating its 70th Independence day, news agency NDTV compiled a list called "70 Years, 70 Great Films" and Sandesam was among the four Malayalam films that found place in the list.[6] In 2013, in an online poll conducted by CNN-IBN on their website as part of the 100 years celebration of Indian cinema, Sandesam was included in the poll for finding the "greatest Indian film ever".[3] In 2024, a scene from Sandesam was recreated in an advertisement for an online mobile game; Dhyan Sreenivasan (son of Sreenivasan, who appeared as Prabhakaran in the film) acted in the advertisement, and Anoop Sathyan (son of Sathyan Anthikad, the director of the film) directed the advertisement.[7]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Sandesam

View on Grokipedia
from Grokipedia
(transl. Message) is a 1991 Indian Malayalam-language political satire black comedy film directed by Sathyan Anthikad and written by Sreenivasan. The story centers on Raghavan Nair, a retired railway station master played by Thilakan, whose dream of a peaceful family life in retirement is disrupted when his two elder sons become local leaders of rival political fronts in Kerala, mirroring the state's dominant left-democratic and united democratic coalitions. His wife and youngest apolitical son navigate the ensuing familial discord caused by ideological clashes and power struggles. The film critiques how partisan politics infiltrates and fractures middle-class family dynamics, portraying the corrosive effects of blind loyalty to political ideologies over personal relationships and societal well-being. Featuring performances by Jayaram and Sreenivasan as the politically ambitious brothers, alongside supporting roles by Siddique and others, Sandesam employs humor to expose hypocrisies in regional electoral rivalries and their broader implications for national and global politics. Released amid Kerala's polarized political landscape, it achieved commercial success and critical acclaim for its incisive commentary, remaining relevant for illustrating enduring divisions in households aligned with opposing parties.

Production

Development and Writing

Sandesam was conceived and scripted by in collaboration with director during the early 1990s, amid 's entrenched political duopoly between the Congress-led United Democratic Front (UDF) and the Communist-led Left Democratic Front (LDF), which had alternated power through ideologically charged elections since the state's formation in 1956. This rivalry, marked by frequent shifts—such as the LDF's 1987 victory over the UDF and the UDF's return in 1991—inspired Sreenivasan's screenplay as a pointed on partisan opportunism, where personal and familial loyalties yield to political expediency. The writing process built on the duo's prior successes, including (1987) and (1989), leveraging Sreenivasan's signature style of observational humor derived from middle-class life. Sreenivasan structured the narrative as a neutral , critiquing both fronts' tendencies to prioritize power retention over substantive governance, while illustrating ideology-induced familial rifts as a microcosm of broader societal divisions. The eschewed partisan endorsement, instead emphasizing ' capacity to manipulate public sentiment through empty , a theme rooted in Kerala's 1980s-1990s socio-political flux, including labor unrest and instabilities. This approach aimed for timeless relevance, portraying political allegiance as a beguiling force that overrides rational discourse without aligning with any ideological camp. Portions of the script were developed iteratively during , enabling real-time refinements to dialogue and satirical elements based on on-set dynamics and Sreenivasan's improvisational insights. This fluid method aligned with Sreenivasan's broader practice, starting from core ideas expanded into structured stories through character-driven conflicts, ensuring the film's commentary remained incisive yet accessible.

Casting and Crew

Thilakan was cast as the retired railway station master Raghavan Nair, leveraging his reputation for portraying authoritative yet beleaguered paternal figures to anchor the film's central family conflict. , serving as both screenwriter and actor, played Prabhakaran, the elder son aligned with a right-wing party, enabling him to embed pointed, observational dialogue drawn from real-world political observations that sharpened the on ideological posturing. portrayed the younger son Prakashan, affiliated with a leftist party, his understated comic timing complementing Sreenivasan's intensity to illustrate the brothers' hypocritical rivalries without exaggeration. enacted the mother Bhanumathi, her grounded performance adding emotional restraint to the household tensions. Sreenivasan's dual contributions as and performer facilitated seamless integration of authentic critiques targeting bureaucratic and partisan absurdities, as his scripts often derived from direct societal insights rather than contrived scenarios. Supporting roles, including as the uncle Achuthan , further populated the narrative with characters reflecting Kerala's middle-class milieu, amplifying the film's relatable satirical bite through ensemble chemistry. The technical crew emphasized to foreground everyday political follies: Vipin Mohan employed natural lighting and unadorned compositions to capture unglamorous domestic settings, eschewing dramatic flourishes that might dilute the critique of routine hypocrisies. Editor K. Rajagopal's precise cuts sustained rhythmic tension in confrontational scenes, ensuring the satire's pacing mirrored the languid yet fractious pace of family disputes intertwined with ideology. These selections aligned with director Sathyan Anthikad's approach to unvarnished realism, prioritizing clarity over visual spectacle.

Filming

Principal photography for Sandesham took place in 1991, with principal locations in to authentically depict North Kerala's middle-class domestic settings and everyday political activities, such as rallies and strikes that permeate local life. Mohan handled the visuals, employing practical on-location shooting to ground the satire in observable social realities rather than stylized effects. This approach supported the film's critique by portraying power structures and familial conflicts through unembellished, relatable environments that mirrored 's post-election political fervor of the era.

Synopsis

Plot Summary

Raghavan , a retired railway officer, returns to his family home in after years of service, intending to enjoy a serene post-retirement life funded partly by his savings, which he uses to secure land for his Lathika's . His two adult sons, however, are unemployed and deeply entrenched in rival political factions: the elder, Prabhakaran, serves as a strategist for the leftist , while the younger, Prakashan, aligns with the opposing right-wing party, leading to immediate tensions during family interactions such as dinner table debates. The brothers' dependence on their father's pension exacerbates household strains, as they prioritize party activities over personal responsibilities. The political rivalry intensifies through public clashes and opportunistic maneuvers, including potential party affiliations shifts amid Kerala's bipolar electoral landscape following the 1991 United Democratic Front victory, fracturing family unity and causing acute distress to Raghavan and his wife Bhanumathi. Raghavan's friend and Lathika's husband, Udayabhanu—an idealistic agricultural officer married without —offer limited support amid the discord, while the parents' reconciliation efforts prove futile against the sons' escalating commitments. The narrative builds to family breakdown via absurd political tactics and interpersonal rifts, with Raghavan confronting his sons over their neglect, prompting a reevaluation of priorities in the household set against 1990s village life.

Themes and Satire

Political Critique

Sandesham delivers an equal-opportunity satire on Kerala's dominant political coalitions, the United Democratic Front (UDF, Congress-led) and (LDF, CPI(M)-led), portraying their leaders as equally prone to and ideological without favoring one side. The film's two protagonist brothers, one aligned with a Congress-inspired party and the other with a Marxist one, embody this balance, turning family disputes into partisan battlegrounds that expose the self-serving nature of political allegiance in 1991 , following the UDF's electoral victory after Rajiv Gandhi's . This depiction underscores causal dynamics where power-seeking overrides personal bonds, as siblings prioritize party loyalty over resolving inheritance conflicts. The satire targets hypocrisies across both fronts, such as LDF characters' doctrinal rigidity clashing with practical inconsistencies, including a senior Marxist secretly visiting a temple despite professed , revealing duplicity in ideological adherence. UDF-aligned figures face ridicule for nepotistic tendencies and opportunistic maneuvers, mirroring national critiques like those tied to the era's authoritarianism. Ideological flip-flops are lampooned through LDF responses to global events, such as exaggerated dismay over Poland's 1990 shift from —"Poland-inekkurichu oraksharam mindaruthu!"—highlighting denial of systemic failures, while both sides engage in absurd blame-shifting for electoral defeats, attributing losses to or external conspiracies rather than internal flaws. Vote-bank manipulations and raw opportunism form core jabs, with rival parties racing to claim a bystander's corpse as a "martyr" to rally supporters, illustrating cynical exploitation of tragedies for electoral gain. Tactics like fabricating harassment cases against young opponents further depict politics as a game of entrapment over principled contestation, applicable to both UDF and LDF strategies in Kerala's bipolar landscape. These elements extend to analogies with global politics, critiquing Marxism's revolutionary delusions—equating local activists to figures like Che Guevara—alongside centrist systems' rhetorical beguilement, framing activism as often self-interested rather than altruistic. By avoiding glorification of any ideology, the film presents politics as indiscriminately corrosive, disrupting social cohesion through unchecked ambition.

Family and Social Dynamics

In Sandesam, political permeates family relations through the antagonism between brothers Prabhakaran and Prakashan, who head rival parties RDP and INSP—stand-ins for Kerala's dominant LDF and UDF fronts—escalating quarrels that override and filial obligations. Their manifests in petty disputes over matters and posturing, such as vying for credit during family crises like funerals, compelling the family to navigate divided loyalties that erode daily cohesion. This dynamic underscores the prioritization of partisan allegiance over parental authority, as the brothers absent themselves from domestic responsibilities while demanding sustenance from their aging parents. The ensuing parental anguish, embodied by father Raghavan Nair's progression from pride in his sons' "leadership" to disillusionment and eventual banishment of them from the home, serves as a case study in the tangible disruptions caused by ideological extremism within personal spheres. Raghavan, a retired station master, confronts the irony of his sons' political ambitions when they fail basic family governance, questioning their fitness for public roles amid evident irresponsibility. Such fissures mirror observations of Kerala's entrenched bipolar political culture, where ideological divides infiltrate interpersonal ties, amplifying familial strain in middle-class households attuned to partisan debates. The narrative critiques moral erosion in middle-class quests for influence, portraying the brothers' unemployed yet self-aggrandizing pursuits as symptomatic of power hunger detached from ethical grounding or productive labor, which hollows out familial duty and . While the film's incisive humor effectively lampoons these failings—through exaggerated rivalries and hypocritical —its resolution via paternal intervention and risks oversimplifying remedies for entrenched divisions, favoring personal withdrawal over systemic . This has shaped audience reflections in , fostering caution against political immersion absent resolved personal integrity, in contrast to portrayals glorifying unexamined activism.

Music and Soundtrack

Composition and Tracks

The soundtrack for Sandesam was composed by Johnson, renowned for his lyrical melodies that integrate folk traditions and light classical motifs, reflecting Kerala's cultural ethos and lending emotional resonance to the narrative's exploration of familial discord amid political strife. This stylistic fusion avoided ornate orchestration, ensuring the music supported rather than eclipsed the satirical core, with subtle tonal richness evoking for unified family life in contrast to ideological fractures. The film's music features one principal song, "Thumbappoo Kodiyuduthu," with lyrics by , sung by and . Its gentle, evocative melody draws on regional folk sensibilities to highlight themes of simplicity and loyalty, subtly amplifying the irony of personal hypocrisies within the broader political chaos. Johnson's background score complements this by employing restrained classical inflections to underscore emotional undercurrents, reinforcing the without narrative intrusion.

Release and Reception

Box Office Performance

Sandesam was a commercial success upon its release on 30 October 1991, ranking among the highest-grossing films of the year. The film's strong performance in theaters stemmed from organic audience appeal, as its relatable drove sustained attendance through word-of-mouth rather than heavy promotional campaigns. Compared to contemporaries like and Godfather, which also topped charts, Sandesam demonstrated enduring draw in regional markets without precise collection tracking typical of the era's independent cinema. Exact gross figures remain undocumented in available records, but its inclusion in top-grosser s underscores its financial viability and market resonance.

Critical Response

Upon its release in July 1991, Sandesam received widespread acclaim from critics for its sharp , with Sreenivasan's praised for incisively exposing opportunism and partisan rivalries in politics without favoring one side. Reviewers highlighted the film's balanced critique of both major fronts— the and United Democratic Front—through the lens of fraternal conflict, noting its bold portrayal of how ideological divides infiltrate family life. The integration of humor with was lauded, with one analysis describing it as a "scathing " that lampoons democratic systems globally while remaining rooted in local middle-class dynamics. Performances, particularly by and as the politically opposed brothers, were recognized for adding depth to the , enhancing its relevance to contemporary society. Audience reception reflected this positivity, evidenced by an rating of 9.0/10 from over 6,000 users, underscoring patterns of praise for its wit and timeless commentary on political . However, some contemporary observers critiqued the film for an underlying anti-political stance, arguing that its equating of all parties oversimplifies ideological differences and risks portraying as inherently corrupting, potentially discouraging civic participation. This view posits that the narrative's resolution, emphasizing personal reform over systemic engagement, could deter involvement in public life, though such dissent remained minority amid the dominant approbation for its unsparing humor.

Legacy and Impact

Cultural Influence

Sandesham has attained iconic status in as a timeless , establishing a template for narratives intertwining family discord with partisan rivalry that recurs in subsequent films exploring Kerala's entrenched bipolar political landscape between the and United Democratic Front. Its depiction of siblings rising as local leaders of opposing parties, fracturing familial bonds, has been credited with highlighting the personal toll of ideological entrenchment, influencing portrayals of intra-family political alienation in later works. The film's script by , emphasizing hollow rhetoric over substantive action, continues to be referenced in analyses of Kerala's alternating governance cycles, underscoring persistent divisions akin to those in 1991. The movie sparked public discourse on the human costs of political ambition within households, prompting reflections on how partisan loyalty erodes parental authority and sibling unity, themes that resonate amid Kerala's history of ideologically charged family rifts. However, some interpretations frame it as broadly discouraging , overlooking its targeted critique of performative , a view echoed in online discussions critiquing its perceived oversimplification of engagement's value. This duality illustrates the film's layered reception, where its invites both endorsement of individual integrity over factionalism and debate on whether it inadvertently promotes apathy toward . Into the 2020s, Sandesham retains pertinence in discussions of polarized societies, with enthusiasts advocating for 4K remastering and theatrical re-releases to revive its commentary on enduring familial and communal schisms driven by unchanging political binaries. Its themes of division mirror contemporary escalations, such as digital-era disputes over allegiance, affirming the causal continuity of politics infiltrating private spheres in and beyond. The film's cross-regional remakes and sustained viewership underscore its role in sustaining satirical traditions that prioritize empirical observation of power dynamics over ideological advocacy.

Awards and Accolades

Sandesam garnered accolades primarily at the regional level through the for 1991 releases, presented in 1992. received the Second Best Actress award for her portrayal of the family matriarch, sharing the honor with performances in Godfather and . was awarded Best Screenplay for the film's script, which satirized political divisions within families, marking one of his two such State honors alongside . The film did not secure National Film Awards from the , with no nominations or wins documented in official records for 1991 Malayalam cinema entries.

Retrospective Analysis

Over three decades after its release on February 22, 1991, Sandesam retains analytical value for its depiction of as a force that systematically erodes familial bonds through ideological entrenchment and power incentives, a pattern observable in empirical cases of political families worldwide where loyalty to party supersedes . The film's core ethic—prioritizing family cohesion over political ambition—aligns with causal observations that power-seeking often incentivizes of personal relations, as evidenced by the narrative's portrayal of the communist minister's cadre-driven of his parents, mirroring real-world instances of ideological cadres prioritizing organizational directives over domestic duties in left-leaning movements. This message counters sanitized narratives that normalize political division as mere discourse, instead highlighting its tangible costs in relational fragmentation, a that holds across ideologies given ' universal temptation to subordinate individual to agendas. The film's realistic portrayal of communism's operational failures, such as hypocritical cadre enforcement and tolerance for intra-family antagonism under the guise of ideological purity, provides a to institutionalized biases in Kerala's media and academia that often frame left-wing divisions as progressive necessities rather than divisive pathologies. This element underscores an enduring strength: its unflinching exposure of how communist structures foster and moral compromise, as seen in the elder brother's transformation from principled activist to power-broker, reflecting documented patterns in left where anti-corruption rhetoric yields to and populist maneuvering. Such realism challenges left-normalized tolerance for ideological rifts by demonstrating their causal role in familial and social decay, without exempting opposing congress-style from similar scrutiny. However, retrospective critiques highlight limitations in the film's advocacy for apolitical withdrawal as a resolution, which some analyses argue perpetuates societal inertia by discouraging engagement against entrenched power abuses, potentially enabling the very divisions it laments. Discussions in online forums reveal divided views on this message's effects, with some contending it fosters harmful detachment in a requiring vigilant opposition to ideological monopolies, while others praise its promotion of personal over partisan fealty. The narrative's Kerala-specific lens, centered on bipolar left-right contests, restricts its universality, overlooking global variants like authoritarian consolidations or non-binary political fractures, thus limiting broader applicability despite claims of ideological neutrality. These constraints temper its achievements, as the film's neutrality, while evident in balanced admonishments of both major fronts, risks reinforcing escapist amid persistent polarization.

References

  1. https://www.imdb.com/title/tt0353975/
  2. https://artysri.com/sandesham-malayalam-1991/
  3. https://www.questjournals.org/jrhss/papers/vol10-issue12/10125360.pdf
  4. https://www.thenewsminute.com/kerala/revisiting-sandesham-90s-family-split-over-politics-much-us-today-145548
  5. https://www.thequint.com/entertainment/indian-cinema/sandesham-malayalam-film-sathyan-anthikad-jayaram-sreenivasan-udf-ldf-communist-congress-political-poland
  6. https://www.filmcompanion.in/features/evolution-of-comedy-in-malayalam-cinema-later-years-sathyan-sreenivasan-and-siddique-lal
  7. https://www.youtube.com/watch?v=Em7B8LC6Nuw
  8. https://www.thehindu.com/features/friday-review/interview-with-actor-sreenivasan/article6700411.ece
  9. https://www.imdb.com/title/tt0353975/fullcredits/
  10. https://www.nowrunning.com/movie/17867/malayalam/sandesham/cast-and-crew/
  11. https://www.tvguide.com/movies/sandesham/cast/2000495210/
  12. https://www.linkedin.com/pulse/sandesham-1991-panchavadi-palam-1984-nithin-kalorth-wkjxc
  13. https://www.thehindu.com/features/cinema/the-complete-musician/article2396093.ece
  14. https://www.malayalachalachithram.com/listsongs.php?m=2486
  15. https://www.imdb.com/list/ls094489252/
  16. https://www.ranker.com/list/the-best-malayalam-movies-of-all-time/sudeeshab
  17. https://www.filmibeat.com/malayalam/news/2016/malayalam-movies-released-in-the-year-1991-232450.html
  18. https://www.academia.edu/105091779/Malayalam_Film_Sandesham_The_Message_a_Neutral_Critique_on_the_Provincial_National_and_Global_Politics
  19. https://www.filmfestivals.com/blog/lalit_rao/sandesham_1991_is_a_classic_political_satire_rooted_in_kerala_s_middle_class_life_by_film_critic_lalit_rao
  20. https://timesofindia.indiatimes.com/entertainment/malayalam/movies/news/filmyfriday-sandesham-a-meticulously-crafted-political-satire-with-a-sandesham-relevant-at-all-times/articleshow/87534275.cms
  21. https://www.ottplay.com/news/sandesham-why-the-iconic-malayalam-political-satire-is-relevant-even-after-30-years/5f78efa3f0111
  22. https://www.reddit.com/r/MalayalamMovies/comments/1jv985g/sandesham_movies_relavance_in_current_scenario/
  23. https://www.newindianexpress.com/states/kerala/2023/Apr/02/express-dialogues-todays-politics-has-gone-beyond-satiresreenivasan-2561813.html
  24. https://www.imdb.com/title/tt0353975/awards/
  25. https://www.imdb.com/event/ev0001070/1992/1/
  26. https://www.facebook.com/movieframenews/photos/sreenivasan-born-6-april-1956-is-an-acclaimed-indian-actor-screenwriter-director/122233386464152421/
  27. https://www.imdb.com/title/tt0353975/reviews/
  28. https://www.reddit.com/r/MalayalamMovies/comments/18ernis/movies_other_than_varavelppu_and_sandesham_that/
  29. https://www.reddit.com/r/MalayalamMovies/comments/yi1fk6/this_scene_from_sandesham_recently_happened_in/
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