The mundu (white dhoti) and neriyathu are not costumes but semiotics. When Mohanlal’s character in Drishyam (2013) wears a crisp, untucked mundu with a shirt, it signals a middle-class, auto-rickshaw-driving everyman. When Mammootty dons the same in Peranbu (2018), it signifies a muted, southern dignity. The kasavu (gold-bordered saree) is reserved not just for Onam, but for cinematic moments of moral climax—weddings, farewells, and death.
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