In India’s cinematic galaxy, few stars shine as consistently bright as Mohanlal. For over four decades, the veteran Malayalam actor has held audiences spellbound, slipping effortlessly into characters as varied as a wise sage, a broken man, a street-smart rogue, or a mythic hero. And yet, only in 2025, at the age of 65, does Mohanlal receive the country’s highest cinematic honour—the Dadasaheb Phalke Award.
Why so late? That is the question echoing across social media, where fans are celebrating the recognition but also lamenting the long delay. After all, here is an actor who has carried not just Malayalam cinema, but Indian cinema itself, into new realms of artistry. His more than 400 films across Malayalam, Tamil, Telugu, Kannada, and Hindi testify to a career that transcends linguistic boundaries.
The delay perhaps lies in the paradox of Mohanlal’s genius: he makes acting look too easy. Unlike stars who carry larger-than-life personas, Mohanlal melts so completely into his roles that he often disappears into them. Audiences leave the theatre remembering the character, not the man. That subtlety, while admired by film lovers, may have delayed the broader institutional recognition that often gravitates to flamboyance.
From Thoovanathumbikal’s understated romance to the intensity of Iruvar, from the spiritual gravitas of Vanaprastham to the slick thrill of Lucifer, Mohanlal has never been afraid of reinvention. He is a performer who has redefined versatility: one moment he is the common man, the next he is a mythical god-figure. His range is rivalled only by his consistency.
Prime Minister Narendra Modi called him the “epitome of excellence and versatility,” words that capture both Mohanlal’s artistry and his durability. But the fans on Twitter put it more bluntly: “Phalke award took decades to catch up with him.”
The truth is, Mohanlal’s legacy was already secure long before the Phalke Award. Padma Shri in 2001, Padma Bhushan in 2019, and a shelf full of National Awards proved the industry knew his worth. Yet, the Phalke honour is more than just another medal; it is the nation’s official acknowledgment that here is a man who has defined Indian cinema for a generation.
Perhaps the delay underscores a flaw in how India distributes recognition—too often reactive, too late, too slow. But in the case of Mohanlal, the award is not about making him a legend. It is about catching up with a legend who has been among us all along.
As the applause rises, one cannot help but feel that the true tribute to Mohanlal is not this long-overdue award, but the countless characters he has etched into memory. The Dadasaheb Phalke Award has finally found him—but Mohanlal had already found immortality on screen.
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