Urvashi exudes calm as she receives a flood of congratulatory messages celebrating her sixth Kerala State Film Award for Best Actor (female). Since the announcement of the awards on Friday, her phone has been inundated with calls, draining its battery almost completely. Despite the immense recognition she has received, Urvashi remains humble, asserting, “I don’t think I have done anything extraordinary to win the award. Viewers have been saying that Urvashi chechi deserved an award, and maybe that prediction played a part in me winning it.”
The role of Leelamma in Christo Tomy’s Ullozhukku left a lasting impression on the jury, who were moved by her portrayal of a grieving mother coming to terms with the loss of her son. Reflecting on the character, Urvashi remarks, “It was a superb script and a wonderful role. I waited for three to four years for the film to begin, and so did Christo. I loved the role, the script, and the director, who was also the writer. My only reservation was doing such a dark film for about 40-plus days.”
She elaborates, “I had to maintain a mournful mood throughout the entire shoot, constantly on the verge of tears. Sustaining that mood was daunting, and it made me nervous. But I felt this character was meant for me, and with that in mind, I took on the role. However, I decided not to shed any tears, even though Leelamma is a tragic heroine.”
The emotional strain of keeping those intense feelings bottled up took its toll on Urvashi. “It was incredibly challenging to weep and lament without actually crying. If Leelamma had cried, it might have eased some of the trauma for me. By the end of each day, my cheeks ached from the strain of my expressions. This role was certainly a challenge,” she admits.
Following the 45-day shooting schedule, she found herself feeling utterly drained, both physically and emotionally. Her next project, Jaladhara Pump Set Since 1962, provided a breath of fresh air. The different, lighter role helped her regain her energy and composure.
Urvashi’s career is marked by versatility. After making her debut in K Bhagyaraj’s Mundhanai Mudichu in 1983, she transitioned into Malayalam cinema with films like Ethirpukkal (1984) and Ente Ammu Ninte Thulasi Avarude Chakki (1985). She quickly became a household name, known for her performances in a wide array of genres including family dramas, thrillers, and rom-coms. A short break led to her return in 2005 with Sathyan Anthikkad’s Achuvinte Amma, for which she won the National Award for best supporting actor.
Beyond her acting career, Urvashi has ventured into scriptwriting and producing, while maintaining her status as a sought-after actor in both Tamil and Malayalam cinema.
. Crediting her directors and writers, she notes that the quality of roles she has played has been due to their belief in her abilities. “Actors can’t choose their characters. It is the directors’ belief in an actor that keeps them going. Their confidence gives me the self-assurance to embody a character. I have never waited for a specific role; I have always gone with the flow.”
Urvashi emphasizes that she never prepares for her roles. “I don’t know what preparation is. I have no idea about auditions, workshops, or rehearsals. I simply go to the location and do what the director tells me. Whatever I do when the director says ‘action,’ that is my acting.”
As a spontaneous actor, Urvashi finds it difficult if asked to reproduce the same expression in a retake. She points out that while many of her peers got stereotyped, she managed to break free from these constraints by taking on diverse roles, including negative characters infused with her unique brand of humor.
Reflecting on her career, Urvashi recalls her humorous touches in films like Ponmuttayidunna Tharavu and Thalayanamantram, where she played self-centered and flawed characters without mimicking the dramatic stereotypes of the ‘vamps’ of her era. Her trademark fluttering of eyelashes, she mentions, was a playful nod to the heroines of the black-and-white era, a touch she incorporated into her roles humorously whenever the chance arose.
Despite her wide-ranging characters, Urvashi insists she never based them on real people. The fast-paced environment of film shoots, where multiple projects were shot simultaneously, left no room for detailed preparations. “My directors were my teachers. They had a clear vision and allowed me the freedom to improvise.”
Urvashi concludes by stressing her natural approach to acting. “I don’t know how to act. My directors would guide me to ‘just do this role naturally.’ If a role appeals to me, I take it. Once on location, I follow the director’s instructions without considering age or status.”
Looking forward, she expresses a desire to continue exploring diverse roles, attributing her rich and varied filmography to her directors and writers. This humility and dedication to her craft make Urvashi a remarkable and enduring figure in Indian cinema.
