
Balamani, a diligent housemaid deeply devoted to Lord Krishna, serves in a traditional South Indian family and quietly falls for her mistress’s grandson, Manu. Facing fierce opposition from the entire household, she turns to Krishna, pleading for divine help to erase her love, wrestling with duty and longing, and seeking peace.
Does Nandanam have end credit scenes?
No!
Nandanam does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of Nandanam, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.

Prithviraj Sukumaran
Manu

Revathi
Thankam

Aravind Akash
Unnikrishnan / Guruvayurappan

Kalabhavan Mani
Mahadevan

Jagathy Sreekumar
Kumbidi

Sadiq
Vijayan

Navya Nair
Balamani

Saikumar
Ramadasan

Subbalakshmi
Veshamani Ammal

Jagadish
Elder S/o Sankaran Moosari

Mala Aravindan
Sankaran Mushari

Innocent
Kesavan Nair

Ambika Mohan
Unni Amma's relative

Jagannatha Varma
mbalappattil Madhava Menon

Ranjith

Sudheesh
Unnikrishnan

Jyothirmayi
Bride (Guest appearance)

Augustine
Kunjiraman

Gayathri Varsha
Sakundala, Janaki's maid

V K Sreeraman
Shankaran

Kozhikode Narayanan Nair
Shankarammavan

Subair
Venu Menon

Kaviyoor Ponnamma
Unni Amma

Zeenath
Unni Amma's relative

Kalaranjini
Janu Edathi

Bindu Ramakrishnan
Unni Amma's relative

Meena Ganesh
Karthyayani Amma

Vijayakumari
Parootty Amma

N F Varghese
Sreedharan

K. J. Yesudas
Himself

Jolly Easo
Sumam Venu

Nivia Rebin
Unni Amma's relative
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Who portrayed the orphan maid Balamani in the film?
Read the complete plot summary of Nandanam, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
Balamani, Navya Nair, is an orphan who works as a maid for Unniamma Kaviyoor Ponnamma, the aging matriarch of the Ambalappattil family, and she lives inside a grand mansion. In her small room, a photo of Guruvayurappan sits beside a lamp she lights every day and she speaks to Lord Krishna as if he were a friend. Despite her ardent devotion, she is not allowed to enter the sacred temple, even though it sits close to the house. Time and again, whenever she plans a visit, something goes wrong, reinforcing the belief that no one can set foot in Guruvayur temple without the temple granting approval. The old saying about divine permission shaping access to the temple resonates with Bala, who clings to faith even as the world seems to keep her apart from the god she loves.
Bala finds warmth in the care of Unniamma and grows close to her neighbor Janaki, who hints that her son Unnikrishnan would soon return to the village. Bala hopes to meet him, but the responsibilities of her daily labor keep her occupied, and she often forgets the promise she made in her heart. One day, Manu [Prithviraj Sukumaran] arrives in Ambalappattil to spend time with his grandmother, and Bala immediately senses a shared tenderness between them. Manu, who has been raised by a loving single mother in Bangalore, begins to reciprocate Bala’s feelings. Yet Bala understands the social gap between a servant girl and a man from a high-class family, and she tells Manu that their relationship would face strong disapproval if exposed.
Manu’s mother, Thankam [Revathi], arrives from Bangalore with plans to secure Manu’s future in the United States and has already arranged his wedding. She senses a spark between Bala and her son but does not yet realize the depth of their bond. Bala asks Manu to keep their feelings private to spare Unniamma and Thankam pain, acknowledging that the biggest challenge may come from those around them rather than from their own hearts. Meanwhile, Bala meets a man who introduces himself as Unnikrishnan, forming a growing friendship with him. He is described as Unniettan to Bala, and his unwavering support gives her a renewed sense of hope in difficult moments. The connection deepens with Bala’s belief that her friend could be a real ally in her struggle to navigate love and duty.
As the wedding date for Manu approaches, Thankam learns the truth about Bala and Manu’s feelings. She confronts Manu, who admits he did not want to break Thankam’s heart by revealing everything sooner. He explains that his only fear is seeing Thankam sad, and Thankam responds with a tempered grace, apologizing to both Bala and Manu while recognizing that it may be too late to change the wedding plans. Bala, overwhelmed by the tension and the sense that faith itself is being tested, seeks guidance from Unniamma, who reassures her that God’s plan is not yet finished and that patience can yield unexpected outcomes.
The next day, relatives gather at Ambalapattil for the wedding preparations. On the day of the ceremony, the bride flees with her lover, leaving the family in shock and forcing a reevaluation of the match. Thankam suggests that Bala should marry Manu, but the elders and relatives resist the idea, deepening Bala’s sense of humiliation. Unniamma steps forward to calm the frayed emotions, urging everyone to honor the couple’s genuine love. With her steadfast support, Bala and Manu are allowed to proceed, and the couple finally marry, stepping into a new life together.
As Bala and Manu prepare to visit Unniettan, they are surprised by a different presence at the temple. They realize that the Unniettan they hoped to meet may not be who they expected, but the moment carries a spiritual undercurrent: Bala and Manu are guided by a force that seems to have always been with them. They hurry toward the temple, only to find it sealed. They convince the police to grant them passage through the first barricade, and as they approach the inner space, they glimpse the figure of Unniettan near the temple’s heart, smiling before vanishing. In that quiet, final moment, Bala understands that God has walked beside her all along—not in grand signs, but in the companionship of a faithful friend who appeared when she needed him most.

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