6 April 1956|
Pattyam, Thalassery, Kerala State, India
|Alma mater||Pazhassi Raja N. S. S. College, Mattanur
Madras Film Institute
|Occupation||Actor, Screenwriter, Film director, Film producer, farmer|
|Years active||1977 - present|
|Notable work||Chinthavishtayaya Shyamala, Mazhayethum Munpe, Thakarachenda, Sandesam, Udayananu Tharam, Katha Parayumbol, Vadakkunokkiyantram|
|Children||Vineeth Sreenivasan, Dhyan Sreenivasan|
|Parent(s)||Thalassheri Paadiyathu Unni, Lakshmi|
|Awards||National Film Awards:
Best Film on Other Social Issues (1998)
Sreenivasan was born in Patyam, a village near Thalassery in Kannur, North Malabar region of Kerala State in India. He has a sister and two brothers. His mother was a homemaker and his father a school teacher.
Sreenivasan completed his formal education at Koothuparamb middle school and Government High School, Kathiroor. He received a bachelor's degree in economics from Pazhassi Raja N. S. S. College, Mattanur. In 1977, Sreenivasan studied at the Film and Television Institute of Tamil Nadu, Chennai.
Sreenivasan is married to a school teacher (retired). His elder son, Vineeth Sreenivasan, is a director, lyricist, singer, dubbing artist and actor. His younger son, Dhyan Sreenivasan, made his debut in Thira, a thriller movie directed by his brother.
In 1984, Sreenivasan wrote his first film, Odaruthammava Aalariyam. He both wrote and acted in Varavelpu, Gandhinagar 2nd Street, Nadodikkattu and its two sequels, Pattanapravesham and Akkare Akkare Akkare.
Sreenivasan’s scripts in 1980’s and 90’s brilliantly portrayed the amusing part of people who were obsessed with pulp fiction stories that appeared in substandard Malayalam magazines while not to mention about his subtle approach in explaining the negative influence of such contents to the society of which majority were jobless due to the rise of communism in the state. Through sagacious humor, he was, on the other hand, pretty successful in providing incredible insights into anarchy caused by the militant labor unions that are largely responsible for the closure of industries in Kerala.
In another context, Sreenivasn’s scripts mostly reflect the typical characters of the majority less-educated Keralites who are generally shrewd and handy with their sneaky tricks to succeed in their lives.
Sreenivasan has created a new dimension for Malayalam cinema by way of humor to tell stories in the simplest manner.
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