Entries Tagged 'Interviews' ↓

Q: How did you reach cinema? Was it a long time ambition?

A: It was not planned or a dream for me to become a film maker. My parents were teachers. I went to Madras for learning color processing, considering it would be an additional qualification for securing a job in Dubai. In Madras, I was staying with people in the “assistant” category from the film industry. There were one Venugopal Chokli a lyricist, one Subramanian a music director and one playback singer Dinesh. All the second sundays were compulsary holidays for them. On such days, all of them gets together for making songs. It happened to be my responsibility to write situations for the new songs. Thus my friends found that there was something inside me for becoming an assistant director. Music director Rajamani was the godfather of the group and I became an assistant director of Kamal sir through them. I got the permission from Kamal sir only for working in a single film with him, and I joined the set of “Pradeshika Varthakal”. On the very first day in the film’s set, I realised that my field is cinema. I didnt have any aim in my life untill then.

Gradually the job became a bit boring for me. An assistant director may watch a film hundreds of times before releasing it in the theatre. But cinema is completely different when its released in theatre. Its not the same one which we watch in lab till last day
before the release. The majority viewers’ attitude influence us in the theatre while watching a film. Thats the main reason sometimes we feel a film is bad in theatre but like it while watching on television. That is the psychology of theatre. Actually I laughed only for a few scenes in Meeshamadhavan. But it was surprising to see the crowd response in the theater, as the jokes were seen umpteen times by us (the makers) but it was fresh for the viewers.
Q: Your First film was Maravathoor Kanavu. How was the film born?

A: I worked as an assistant of Kamal for around fourteen films. During the intervals of Kamal films, I worked with other directors. By the time I worked as associate director of Nizar, K K Haridas etc. I worked with K K Haridas’ “Vadhu Doctor aanu”. Its the producer of Vadhu Doctor aanu who made the first offer to me to become a director. I was married at that time and had a stable income during that period, by working as associate director for five ir six films a year. So it was a big risk to direct a film that time because if it fails, I may not get new films and cannot work as an associate anymore. For avoiding that offer i told that I will consider to direct a film only if Sreenivasan or Lohithadas would write a script for me. But Alex (producer) asked Sreenivasan (who is doing a small orle in that film) for a script for his new film. Sreenivasan asked for the director and Alex told that its the associate director guy. Sreenivasan’s reply was a big surprise- he agreed to write if Alex’s director is me. Actually those words made me to look into myself and to realise that I had grown enough to become a director.
Q: What about your team work & films with Ranjan Pramod? How was your team formed?

A: After taking the diploma from Adayar film institute, Ranjan joined as an assistant of Rajeev Menon(ad film maker). Then Ranjan planned to direct a film simultaneously in Tamil and Malayalam. I was working as associate director that time. Seven Arts Mohan recommeded my name as associate director to him. Ranjan came to meet me and I agreed without any hesitation. But due to some other reasons, that film didnt happen. Later I became director. After Maravathoor Kanavu, Seven Arts Mohan approached me for a film with the date of Suresh Gopi. But I was not interested since Suresh Gopi’s police films were not of my taste. He told Ranjan has a story for Suresh Gopi and Ranjan came with the story to meet me. He told he will explain the story in a few lines and I can choose someone else to write the script for it. But after hearing the story, I insisted that Ranjan
himself must write script and he did it. Thats how my first first film with Ranjan happened. But it failed in the box office.

But I took a challenge that if I would do a film after it, i would be with the same team. Randam Bhavam was better than many sub standard films which were superhits of that time. That decision lead to Meesha Madhavan. After the success of Meesha Madhavan, we couldn’t work together.
Q: Majority of your films’ music is scored by Vidyasagar. What about that?

A: That is not coincidental. Vidyasagar’s music demands good visuals. His music compels me to opt for better visuals. He delivered the best for all of my films. Public appreciate it a lot and consider our team’s music as the best while the film releases. So there is no reason for me to avoid Vidyasagar.

Q: What about your favorite films and directors in world cinema.

A: Actually Iranian films influenced me a lot. Majid Majidi is my favorite director. I used to attend film festivals and attended Berlin film festival twice. A lot of good films in the world releases in Berlin film festival. So we can watch them before anyone else.

Q: Among your films, which film gave you the maximum satisfaction as a film maker?

A: I would say none of my films gave me a complete satisfaction. While watching my own films, I can see only the mistakes and minuses in it. Thats the fate of almost all film makers. The mistakes will project more infront its creators. Classmates, Meeshamadhavan etc gave a lot of pleasure for me. But that pleasure cannot be termed as satisfaction. I have more attachment with Classmates, since the public created an emotional relation with that film.
Q: Can you explain more about how Classmates’ happened?

A: After Rasikan’s failure, I was on a break. That film was a complete mistake in my career. Randam Bhavam, Pattalam etc might be flops, but those films had its own merits. But Rasikan was a mistake. After its failure, I was under a lot of pressure. Even some actors and technicians in that film blamed me. During that time actor Saddique told that there is a new writer James Albert and he had a story with him. But I was not atall in a mood to hear anything for cinema. But I agreed to hear the story since Saddique insisted. I was all set to avoid James in ten minutes. But when he started, I couldn’t tell him to stop. He took almost 3 hours to complete the story. Then I realised that I must do that film. But I had committed Chanthupottu and Achan Urangathaveedu that time. James started the scripting work. We used to meet during the shooting of Chanthupottu and
Achan Urangathaveedu for the discussion about script. Initially the flash back portion was situated in a Bangalore based campus. But we decided to relocate it into a campus which is familiar to all of us(The suggestion was from producer Lal). A lot of modifications were done to the script. Jayasurya’s character was a different, that of Indrajith’s was villain. James was so flexible to accept the suggestions, and its quality is proven by the public.

Q: More about Achan Urangatha Veedu.

A: Writer Babu Janardhanan told the thread of the film during a car journey from Shornur to Ernakulam. I feared a bit initially, since the subject is somewhat repulsive for our audience. When we read a news about an accident, we believe it will not happen to our family. Thats the same feeling regarding the news of sexual abuses. Its not about our sister or mother. It creates a mild orgasm inside us while reading such news. The interval scene of the film points towards malayalees’ attitude. People dont care about the tragedy, they need to see the body used by 40 men. The film was a necessity against this attitude.

But it flopped in the box office. It dried out almost all my savings, as the producer left the film mid-way and I completed it with my own money. Classmates was a relief after that.

The brilliant film maker Harikumar who won state award for the best director for”Sukrutham”(1995) and “Pulervettom”(2002) is now doing the script work of his new film . He was a member of the national film award jury this year. Lets go through his viewpoints regarding today’s malayalam cinema.

Q: Sir, you are well known to the Kerala film viewers as a family film maker. Your last commercial film “Paranjutheeratha Visheshangal” came after 7 years gap in 2007 (after Swayamwarapandal in 2000). How do you analyse today’s malayalam cinema?

A: For the last ten years, a lack of interest is visible among the viewers towards the movies which depict the family relationships and values due to the changes in life styles. Especially in cities, economical growth has affected the relationships too. Another fact that affected the family movies is mega serials in television. The female viewers of family movies became addicted to low standard serials, and it ultimately affected the financial success of good standard family movies. This addiction to the serials can be compared with that of the immense popularity of “M” weeklys in the 80s. But I feel this addiction to serials has diminished a little bit since the last two years.

This television penetration affected all movie industries in different periods. Hollywood was supposed to be dead in the 70s due to the over poularity of television. The same trend has repeated at Mumbai in 80s regarding the Bollywood, and it affected malayalam industry in the late 90s. As like the recovery of Hollywod and Bollywood, Malayalam cinema will also comeback. This addiction to television is temporary, just like our affection towards a newly bought fancy item. Television became a member of majority kerala families in late 90s. That affection towards the newly bought good can last for a few years. So now people prefer to go to theater only for the films which are different from the serial formulas.

As like the collapse of “M” weeklys after the 80s, (almost 20 weeklys were there) this serial trend will also fade away as it doesn’t offer anything creative or related to life.

Q: So can we expect a big comeback of a prosperous malayalam cinema age?

A: Cinema will exist forever though whatever other temporary trends come in between. Cinema is the youngest art form, as its only a century old. But take the case of drama its thousands of years old art form, and still exist here. Its only 40 years since India’s ever best film is made by Satyajith Ray. The development in technology will contribute more for cinema’s future. Changes may happen in viewing methods and screening technology, but cinema won’t go away from the viewers.

Q: Do you think the themes of today’s malayalam cinema is competable with that of Tamil, Hindi movies? Do our film makers make enough experimental films as compared to other language films?

A: I was a jury member of last national awards and happened to see around 110 films from different languages in India. There were 15 films from Malayalam, 18 from Hindi, 10 from Bengali and 12 from Tamil in the first round. Only 30 films were selected for the final round. 8 films were selected from Malayalam and only 1 film from Tamil(Paruthiveeran). 7 films were selected from Bengali. I was surprised to see that only a single film is selected from Tamil, though we all say Tamil films are more experimental. Even Paruthiveeran was also constarined to all the boundaries of a commercial films and it has all the ingredients of a commercial. If there is a chance for a film like “Pulijanmam” to be made in any other languages, its only Bengali or Marathi because their govt gives a subsidy upto 30 lakhs. A film like Madambi’s first week share is 80 lakhs but Adoor’s “Naalu Pennungal” got only 3.5 lakhs in total gross.

But in case of commercial films, there are better films in Hindi and Tamil as compared to that of malayalam. Omkara, Lage Raho Munnabhai etc are good examples. Madhur Bhandarkar’s “Traffic Signal” deserves an applause, as its a very difficult one to picturise. Such efforts are not common in Malayalam. But Tamil is not upto Hindi in that respect.

The generation came after Bharathan, Padmarajan era is not having innovative thoughts like the ancestors. Its time for a new generation of film makers to come in to revolutionise malayalm cinema. They must be able to think away from the usual pattern. Today’s film makers are just folowing the predecessors’ path only for their own benefits. Thats one of the major drawbacks of today’s mainstream cinema.

Q: How do you consider the star dominance in malayalm cinema? is it positive or negative for our industry?

A: Ya its one of the major problems that our cinema is revolving around just two super stars, and its dangerous for our industry. It can adversly affect the viewers too that they wont accept the films which don’t give importance to the superstar’s stardom. There are superstars all around the world. But our major plus point is that both of our super stars are excellent actors too, can be called the best in India. But how many of the films are utilizing their talents? Do the films which utilize their talent get accepted by today’s viewers? Even Orekadal didn’t get a good run in boxoffice. Now films which are only made according to star’s pattern are accepted( like Annan Thambi). So the major crisis of malayalam cinema is the lack of confidence in the film makers for different thoughts and contracting into two stars. At the same time different themes of other languages are accepted here. The fans associations are never for the betterment of cinema.

Q: What is your hope about the upcoming film makers and actors in malayalam?

A: There are promising talents among the young film makers and actors. But it should not be constrained to one or two people. Today’s majority of actors and directors are still from 80s. We must get a group of talents in all the fields of cinema. Then only we can dream about a bright future for our cinema.

Q: Which is your next project?

A: Now I am working on a script. Its a superstar in the lead and it will not be based on the superstardom. Planning to start the shooting by the end of this year.

Nik: Thanks a lot for your time, and my best wishes for your future projects.

I got a chance to contact Shri Madhupal recently. He allowed an interview for me. His debut directorial venture, Thalappavu starring Prithviraj, Lal & Atul Kulkarni is in the post production stage.

Q: Sir, You have worked as writer, assistant director, actor and now as director. Can you explain this transition briefly?

A: I had a taste for writing in my school days itself. But in film field, initially I got the helping hands of Jude Attipetti and worked as an assistant director with him. After that I got the chance to work with Bharath Gopi. As an assistant director, I did maximum films with Rajiv Anchal. I grew with the help of many people, moving from one person to another and learning from them. No one grows of his own. My part in Kashmeeram was that of an assistant director but circumstances made me to act in a few scenes in that film. It was quite natural for any assistant director to do a small role in a film. After Kashmeeram, I got many chances in films and majority of them were negative roles. Acting was never in my dreams. When I thought of making a film, Varghese’s story came into my mind since I admire him a lot. Babu Janardhanan has written an excellent script for the film and i think the film has shaped up well.

Q: How much relevant is Thalappavu in current context, when Nepal voted naxals to power and several states in India are struggling with naxal violence?

A: Now a days, how many people will react when they see some bad guys teasing a girl by the road side? When a man reacts to such a situation, we think that he will be from some political party or he has some strong backing. Can we call such a reaction from a common man as naxalism? If so I would like to call Jesus Christ also a naxal. In 70’s, the youth had their own politics. The members of political parties had the privilege to question even the leaders. But today, the youth is getting away from good politics, as they lose the interest. The leaders decide everything based on money and other factors.

The lead character of Thalappavu Joseph is also such a man who reacts against the evil in the society. He does his goodness for the whole society, not for an individual. That may be viewed as a sin in some others’ perspective. In such a perspective Jesus Christ must also be a naxal who reacted against the evils, hit a bad guy with whip, took awareness classes and united people in the society.

Q: Do you think the story of Varghese will make an impact on today’s youth who go behind Star Singers and big budget Hindi and Tamil films?

A: It is said that a story which a writer writes is getting written for a single reader who is somewhere in the society. But cinema is a product for the mass. I know that there are many people in the mass who have some elements of Varghese inside them and can relate themselves to him. We cannot say that a film can satisfy all the people in the society. It will get its viewers.

Q: What compromises you made in fictionalizing the story of Varghese and Ramachandran Pillai to make it appealing to the modern audience? Is it due to legal troubles, the original names were not used?

A: Of course there are changes in the respective characters. But their basic nature is kept intact. As I said earlier, the viewers will be able to identify their nature in the characters. There is nothing related to the legal issues regarding the names. Thalappavu’s lead characters are just inspired from Varghese and Ramachandran Pillai.

Q: A few fresh faces are there in the supporting cast of Thalappavu. How hard was it as a first time director to get the best out of these new actors?

A: I was very comfortable to work with the new comers. As a director I was able to handle them with ease. That may not be the case with senior actors. It was comparatively easy to mould the new comers into characters since they don’t have any established images.

Q: Some previous Prithviraj films like Vargam, Vasthavam were really good but those films didnt get enough pre-release publicity. Do you have some plans to market Thalappavu more aggressively?

A: As a director, I am ready to go for any extent to market this film. I made this movie for others to watch.

Q: How did Prithviraj perform in Thalappavu as compared to his previous ventures like Vargam and Vasthavam?

A: He is the most brilliant actor of new generation. He is so enthusiastic to observe people and to adapt any feature of them for his characters. When we thought of making Thalappavu, he was the unanimous choice. Writer Babu Janardhanan had drawn a sketch of Joseph during the scripting. It had a big resemblance with Prithviraj. He did full justice to “Joseph”.

Q: Having donned the director’s role, what part of the task do you think was most challenging - visualizing the scenes, training the actors, discussing and debating the screenplay with the scriptwriter or is it something else?

A: For a director all these tasks are challenging. I cannot say that one is more challenging and other is not. Cinema is a team effort. The entire crew have their respective roles in it.

Q: Which all directors have inspired your style of direction? Who is your favorite director?

A: Actually there are many brilliant directors who inspired me. I cannot say only some names specifically. I cannot say that my directorial style will be 100% pure. My shot selection and style will have shades of good works which I had seen in the past.

Q: If I say malayalees won’t accept new actors easily, what will be your opinion? Is it the reason our established directors like Priyadarshan, Fazil, Laljose, Siddique are planning their films in Tamil?

A: In Tamil there are around 25 established actors. Even our Prithviraj and Narain got enough market there. If Shivaji and Pokkiri are hits there, the same audience is ready to accept films like Paruthiveeran, Mozhi etc also.

Malayalee audience are still worshiping the big stars. I know many people who say Mohanlal and Mammootty films are guaranteed but newcomers/youngsters films are risky (in terms of quality). Malayalees need everything free without paying its cost. Kerala is one of the places in the world where there is maximum number of libraries. The reason is that Malayalees are reluctant to buy books, they need it for rent. Kerala is the only place where we can watch drama for free. In UK, if we need to watch a drama, we have to book the tickets at least before three months.

Q: What are your future projects/plans?

A: I cannot predict what can happen in next moment. Some times I may stand up from this chair with my right leg or my left leg. But it cannot be predicted now.

Q: About your family.

A: Wife and two daughters. Wife is working in Mathsya Fed.

Q: Do you have any message for the readers?

A: Be honest while approaching a movie. Say only genuine opinion about any film you watch.

Nik: Thanks you sir, All the best for Thalappavu and your future projects.