For many children of the 1990s and reel-loving members of Generation Z, Jagadish is primarily associated with the character Appukuttan from the film In Harihar Nagar, despite his extensive portrayal of various roles. The Malayalam actor has embraced more serious characters since the 2020s, significantly enhancing his performance as a villain in Unni Mukundan’s Marco. Following his role as the malevolent antagonist in Marco, Jagadish takes on the seemingly straightforward role of a bus conductor in Officer on Duty, featuring Kunchacko Boban, which is set to be released on February 20, 2025.

In an exclusive interview with Mobile Masala, Jagadish discusses his latest film, his interest in exploring more villainous roles, upcoming projects, and additional topics. Here are some excerpts from the interview:

Could you elaborate on your latest release, Officer on Duty?

Officer on Duty narrates the personal journey of a policeman, focusing on his dedication and responsibilities. As a family man, he grapples with various duties and obligations. The film raises the question of how sincere he can be in fulfilling his professional responsibilities while managing his family life. My character, Chandrababu, is a KSRTC bus conductor with a distinct perspective. Due to certain circumstances, the paths of the police officer and this conductor intersect. Is my character truly innocent? Am I being wrongfully accused, or am I genuinely involved in the crime? These questions will be addressed throughout the narrative.

You portrayed significant supporting roles alongside Kunchacko Boban, particularly during his early career, in various films including Nakshatratharattu and Sathyam Sivam Sundaram. How does that experience compare to your current work?

The differences between then and now are minimal. Despite the passage of time, our relationship has consistently been warm. In recent years, I have taken on more serious roles, and Kunchacko has always been supportive. He reached out to commend my performances in Rorschach, Purusha Pretham, and Falimy. I also made it a point to discuss his performances in Nna Thaan Case Kodu and Nayattu. This ongoing mutual appreciation has been a hallmark of our connection.

Both of you have progressed as actors, moving beyond your initial typecasts—Kunchacko from romantic hero roles and you from comedic parts. How do you assess your development as an actor alongside Kunchacko's?

The trajectory of our careers can be viewed as quite parallel. I experienced some disappointment with the roles offered to me, which led me to focus on television. However, I remained undeterred. For eleven years, I served as the chief judge on a comedy show, taking a break in that capacity. Similarly, when Kunchacko faced repetitive roles, he also opted for a hiatus in a different manner. Ultimately, both of us received significant opportunities following those breaks, highlighting the similarities in our professional journeys.

In your most recent major film, Marco, you played the formidable villain Tony Isaac. How did you prepare for such a role, particularly given that this level of villainy is relatively rare in Malayalam cinema?

All the credit for this achievement belongs to Marco's writer and director, Haneef Adeni. I was genuinely taken aback when he extended the offer for this role to me. It is not common for directors to exhibit such courage in casting me for a part like this. However, Haneef was confident in my ability to bring his vision to life. He believed that I could deliver the performance he envisioned. Simultaneously, I have a keen interest in portraying more intense characters whose malevolence surpasses that of Marco. Nevertheless, I would find it disheartening to receive a series of villainous roles consecutively. If I could also take on comedic roles alongside these, it would bring me great joy. It is important to note that while the villain is characterized by cruelty, that does not reflect my true self. Embracing such a role would indeed be a challenge. If I were to follow a brutal character with a role that allows me to evoke laughter in the audience, I would be extremely pleased. I am eager for that diversity in my roles. The character in Marco does not represent the pinnacle of villainy; I am open to exploring even more complex roles. (laughs)

You also portrayed the antagonistic character of Thankappan Nair in Leela, a role that is particularly impactful given the storyline of a father assaulting his daughter. Which of these roles do you find more challenging to perform on screen?

In my view, the difficulty of a role is not the primary concern; rather, it should be approached as a challenge. I take satisfaction in the fact that audiences reacted strongly against Thankappan Nair. If viewers despise Thankappan Nair for his actions while appreciating my performance, I consider that a success. Similarly, if audiences are angered by Tony Issac in Marco and prefer Jagadish, I find joy in that as well. This is my perspective. Acting is my greatest passion, and I aspire to take on as many roles as possible.

Your most recognized characters include Mayinkutty in Godfather and Appukuttan from In Harihar Nagar. Do you think these roles have resulted in you being typecast in similar parts?

I do not perceive it that way. The popularity of Appukuttan enabled me to take on leading roles in approximately 40 films. Therefore, I cannot dismiss such comedic roles. Even while portraying heroic characters, I have concurrently engaged in comedic roles alongside Mammootty and Mohanlal. Regardless of the role, it is essential to avoid being pigeonholed or repeating oneself. When a character is distinct, the performance becomes easier. Conversely, if one is confined to stereotypical characters, the likelihood of delivering stereotypical performances increases. Fortunately, my opportunities for 2024 have presented me with a variety of different characters, leading to diverse performances. However, if in 2025 I were to take on a role similar to that in Marco, viewers might accuse me of repetition. I hope to avoid such a role or, if I must accept it, to approach it in a manner that distinguishes it from Marco.

You have experienced remarkable success following the 2020s, with distinguished performances in Neru, Falimy, and Rorschach. Do you believe that any specific performance served as the turning point for this transformation?

The role of Leela has been transformative for me. Everything that followed has been distinct. The character of the cop in Rorschach differs significantly from the policeman in Purusha Pretham. Similarly, the father figure in Guruvayoor Ambalanadayil contrasts with the one in Falimy. The character in Falimy embodies a typical middle-class man who enjoys drinking and shirks responsibility. Conversely, the father in Vaazha starts off as very strict but eventually becomes more accepting of the younger generation. Additionally, the father in Hello Mummy is portrayed as a helpless man with a resilient spirit. Beyond these, I have taken on varied roles in Kishkindha Kaandam, Ajayante Randam Moshanam, and Abraham Ozler. I am thankful to the directors and writers for providing me with these opportunities. It is challenging to identify a single standout performance among them. I am eager to showcase my acting abilities, but I require roles of this caliber, which also necessitates a degree of luck.

The recent roles you have undertaken, such as Rorschach, Neru, and even the antagonistic characters in Marco and Abraham Ozler, suggest a shift towards more serious portrayals. Do you feel inclined to take a hiatus from such roles and return to comedic performances?

The fact that I am currently engaged in serious roles does not imply that I will exclusively pursue such characters. I have a deep appreciation for comedic roles and films. I am set to appear in the upcoming film Parivar, which is scheduled for release on March 7. In this film, Indrans, Prashanth Alexander, and I portray three comedic characters, allowing me to embrace humour once again. Following that, I will feature in Aabhyanthara Kuttavaali alongside Asif Ali, where I will take on the role of a shrewd advocate.

Subsequently, I will be involved in Dheeran, which includes a cast of Rajesh Madhavan, Manoj K Jayan, Jagadish, Vineeth, Ashokan, Shabareesh, and Sudheesh. While my role in this film is more mature, Sudheesh and Vineeth will deliver more humorous lines. My character is reminiscent of the types portrayed by Thilakan chettan or Nedumudi Venu. Ultimately, my focus is not solely on comedy, drama, or villainy; I am eager to explore diverse roles that differ from my previous work.

Many of the most memorable comedy films that resonate with audiences today originated in the late 80s and 90s, including Gajakesariyogam, in which you participated. How do you perceive the landscape of comedy films now compared to that time?

During that period, there were exceptional directors and writers, just as there are today. The quality of a film has always depended on the synergy between the writer and director; a poor collaboration can yield disappointing results. If a talented writer and director collaborate today, they can certainly produce comedy that rivals the classics of earlier decades. Ultimately, it is the talent that prevails, regardless of the era. Those with skill will always find a way to shine.

You have also made significant contributions as a screenwriter for prominent films during the 1980s, including Mazha Peyyunnu Maddalam Kottunnu, Manivathoorile Aayiram Sivarathrikal, and Adhipan, where you were involved in crafting the story, dialogues, or screenplay. However, since that time, your focus has shifted primarily to acting, with a brief foray into writing for the film April Fool in 2010. Have you ever contemplated a return to writing?

I used to engage in writing extensively. Currently, I find myself awaiting new ideas. Often, I conceive a story as I prepare for sleep, yet by morning, I question its quality. This cycle continues. At present, I have a story in mind, but balancing writing with acting is quite challenging. Nevertheless, I am actively working on developing certain narrative threads.

You are now collaborating with a new generation of actors, including Basil Joseph, Tovino Thomas, and Unni Mukundan. In the past, you portrayed Thilakan’s son, and now you take on the role of the grandfather to his grandson, Abhimanyu Thilakan. How has this experience been for you?

Esteemed actors like Thilakan chettan, Madhu sir, Nedumudi Venu, and Bharath Gopy are all revered institutions in the industry. I have had the privilege of working with both the generation that followed them and the one that comes after. I have no reservations about collaborating with younger actors, as I have successfully adapted to various situations. I can engage in meaningful conversations with Madhu sir while also enjoying quality time with Abhimanyu Thilakan. I consider this to be a positive experience.

You also appeared in Billu Barber, which featured Shah Rukh Khan and Irrfan Khan. Could you share your experiences in Bollywood?

In Hindi cinema, I have participated in three films: Hungama, Billu Barber, and Kushti. My involvement in these projects was not solely due to necessity; rather, it was influenced by friendship. Billu Barber was a remake of the Malayalam film Katha Parayumpol, and it was Priyadarshan who chose to cast me. For Hungama, Priyadarshan specifically sought to include me in the cast. Kushti, on the other hand, was the Hindi adaptation of Rajpal Yadav’s Mutharamkunnu PO, and I was given the opportunity by TK Rajeev Kumar, as I had previously written the original Malayalam film. I am open to collaborating again in Hindi or Tamil, provided I work with individuals who understand my perspective, as this would mitigate any language barriers. Although I receive offers from Tamil cinema, scheduling conflicts often arise due to overlapping timelines, which complicates continuity.

Regarding your upcoming projects?

I have several films set for release, including Pariwar and Aabhyanthara Kuttavaali with Asif Ali on April 3, and Dheeran on May 3. Additionally, there is an untitled project with Mathew Thomas expected to debut in May. I am also involved in Appuram The Other Side, directed by Indu Lakshmi, where I have a significant role; this film has been selected for the competition section of IFFK, and we are aiming for a theatrical release. I have three to four projects in the pipeline, including a major role in an upcoming film by Padmakumar. Furthermore, I am in discussions with a new director for a project featuring Parvathy Thiruvothu, with the script already prepared; we are currently finalizing the producer and other details. Lastly, my first web series, Krishna’s 4.5 Gang, is set to premiere on SonyLiv in March or April, previously titled Sambhava Vivaranam Nalarasangham. I have also committed to another film by Krishand, tentatively named Masthishka Maranam (Brain Death), which will commence production soon.

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