Wednesday, March 27, 2013

Sukumari Amma - A Mother's touch in Malayalam Cinema

Sukumari amma always comes to the set with a smile on her face and hands out  prasadams from the temples she had visited earlier, greeting everybody  from the light man to the director. Her presence on the set brings an atmosphere of  homeliness as well as holiness on the sets. Many film makers insisted that Sukumari amma  should face the camera in the very first Pooja Shot of their films as they believed that it will bring them good luck and  success. To an extent it was true and most of such films became Hits or Super hits. Same was true of the countless shops and establishments she had inaugurated. She had no airs about being a busy and well known actress and mingled freely with everybody right from the production boy to the Superstar. On the location, if there is no chair available she will just sit on the floor or any available space unlike others who want caravans.  She will eat whatever food was available and also serve dishes to others sitting along with her. Though she was very busy acting in number of films in different  places, going from set to set like Jagathy Sreekumar, there never was a complaint that the shooting was delayed because of her. She had a good eye for talent spotting and through her recommendation many were able make their debut in the film industry.


She had the old world charm of dedication to her art as an artist and was always serious about her profession. During lighting many of the  actors do not come and be in their positions for adjusting the lights. So some stand-ins like assistant cameraman or clapper person are made to stay in position and the lights are arranged. When the actor  finally arrives from the caravan, again some more modifications are to be made to suit the facial structure, skin tone, colour of the dress etc. and this causes further delay.

But a senior artiste like Sukumari amma even in her advanced age,  will insist on being in the set and stay for the lighting, saying it is her face that is going to be on the screen and not the stand-in's. Even at an advanced age she used to stand for a long time for the lighting to be done. That was her sense professionalism and dedication. During my association with her, right from Director Jesy's AGNIPUSHPAM (1976) till Asok R Nath's MIZHIGAL SAAKSHI (2008)  and on several other occasions later, she had the same affection and consideration towards me. She gave such an wonderful performance in the film MIZHIGAL SAAKSHI  we all thought that she will get the National Award and State Award for her role. But unfortunately it went to other less deserving persons.


On the sets of Mizhigal Saakshi - Mohan Lal, Sukumari and Me





United with her Lord ( Mizhigal Saakshi)
She is so devoted a person, that she started her last journey to unite with the Lord from her Puja room. I humbly offer my prayers  for this great soul to Rest in Peace.

Sunday, March 24, 2013

MADHAVA SANDHYA - MACTA Honours Actor MADHU


On 28 th February 2013, a  grand function  to honour veteran Actor, Producer, Director Madhu on completion of 50 years in Malayalam Cinema was organized by MACTA ( Malayalam cine Technicians' Association )  along with the entire Film Industry was held at the Fine Arts Club Auditorium, Ernakulam. In the same function many of the Kerala state Film Award winners were also honoured.

My association with Shri. Madhu started in 1971 when I did my debut as cinematographer for john Abraham's Malayalam film VIDYARTHIKALE ITHILE ITHILE. Over the years we have worked in many films such as Itha Ivide Vare, Padayottam etc  and we are going to work in a forthcoming film too. I am happy that in my tenure as MACTA Chairman this function was organized with the co-operation of the entire Film Industry and MACTA family.

Here are some photos taken on that happy occassion:

Prof.  O.N.V.Kurup arriving

V.B.K.Menon, Kaloor Dennis, M.T. Madhu, Shahul Hameed, Mohan

Minister K.Babu , O.N.V,   Madhu,  M.T. Yesu Das

Lighting of the lamp by Adoor

Memento presented by Veteran Producer T.E.Vasudevan

24 Frames special issue  released by Ramachandra Babu & received by Prof.O.N.V

Ramachandra Babu & Jayaram

Madhu, Ramachandra Babu, Mohanlal & Mamta Mohandas

24 Frames Special Edition

MACTA Chairman's Page

Sunday, March 10, 2013

Two Gates and a span of 42 years – John Abraham remembered


During the last week of February , 2013 myself Directors G.S. Vijayan and Joshy Mathew went to the Panampilly Nagar, Ernakulam residence of veteran Producer T.E.Vasudevan to invite him for the Madhavasandhya function organized by MACTA. There were two gates for entry to the house, one big and the other small. We rang the calling bell installed at the gate and no one opened the door for a few minutes. Then I remembered an incident that took place years back and told my companions to move and stand a little away from the gate as both of them are bearded. They were curious to find the reason and  I promised to narrate it later. 

After again ringing the bell his daughter came out and asked us to come inside through the smaller gate and since Shri. T.E.Vasudevan was not at home we gave them the invitation letter and promised to come back on another day.

T.E.Vasudevan

The year was 1971. I was doing my debut film as Cinematographer for John Abraham’s Maiden Directorial venture in Malayalam “ Vidyarthikale Ithile, Ithile” We were all staying in the office cum residence of Mehboob Movies at Mahalingapuram. Since there was a gap in the shooting schedule, Azad and others had left for their home town and only John and myself  stayed behind in that flat.

Our Producer entrusted the safeguarding of John to me and always handed over the money for daily expenses to me and not to John.  John was left penniless so that he will not go after liquor. From the money I had,  I paid for all   John’s needs like  food, beedi and other expenses but liquor was the forbidden item.. I was always with him to see that he doesn’t get access to country liquor sold under the Kodambakkam bridge. Even if he begs, I will not give him money for drinks but once in a while ,  I’ll give  him a rupee for a ganja smoke. When he is high on ganja he is a very different personality altogether, very docile and soft mannered and becomes creative singing songs and composing poems. I found that only liquor makes him violent and boisterous bringing out his Satanic nature

One day I received a call from K.G. George  frantically asking for John’s whereabouts, and he told me to find John immediately and keep him in some safe place as John’s life is in danger .  I asked him the reason for it. It so happened that a drunk John went to meet George who was working as Assistant to Ramu Kariat for the film MAYA. George was supposed to be at the Jayamaruthi pictures  office which was a part of the residence of the Producer T.E.Vasudevan. When  John went there George was not there and the doors were closed. The house had two gates, the larger one was permanently locked and the other smaller one open. John was standing in front of the locked gate and rang the bell. No one opened the door, but he could see some movement behind the window and sensed that there are indeed people inside the house. Actually what happened was, there were only womenfolk inside and seeing  John’s shabby dress and beard mistook him for a beggar and did not open the door.

Since whoever was inside were not deliberately opening the door, John banged at the gate and made a big noise. Those inside were frightened by this sudden development. Finding no one coming out of the house,  he jumped over the gate, reached the main door and started banging it repeatedly. In fear of their life the inmates called their near and dear for help. The news spread like wildfire in the film industry as Producer T.E.Vasudevan of Jayamaruthi pictures  was one of the most respected  people in Madras. It was atrocious that someone created trouble when only women folk were there, and it was decided that whoever responsible was to be given a severe beating. Harry Pothen’s drivers, Padmini’s brother Aniyan, Sobhana Parameswaran Nair, Manikandan Nair  and a whole lot of people were in search of the culprit John. They were looking for him in every possible place at Madras.

It was then George telephoned and told me that any moment they will catch hold of John and beat him up. I then contacted our Producer Minnal and together searched and found John in one of his regular arrack den. We told him a lie that his brother at Kumbakonam wants him to come there on some urgent matter. John was taken to Egmore Railway station and was put in a second class compartment (those were the days of First, Second and third classes) and waited till the train left. On seeing the shabbily dressed John sitting in the second class compartment, a gentleman passenger  seated nearby was staring at him with suspicion. Sensing that, John immediately pulled out his ticket from his pocket, showed it to him and said “Look, I have got a second class ticket”. The man hung his head in  shame as he had thought John was some vagrant travelling without ticket !

John returned months later well dressed with his shirt tucked in and with a clean shaven face and a nice moustache. He had transformed himself into an entirely new person, totally unrecognizable!

On our back in the car,  I explained to my friends about the incident  involving John Abraham, that happened 42 years back at Madras. This time also there were two gates to Shri. T.E.Vasudevan’s house and instead of one bearded fellow there were two, and Vasu Sir was not at home. I was wondering about the similarity and what will be the outcome…..

Next day we three, once again went to Panampilly Nagar, this time accompanied by another lady member of MACTA, Dubbing artiste Bhagyalakshmi. Vasu Sir warmly welcomed us home and we had a long chat and he happily agreed to come for the function. He kept his word and presented the Memento to Shri. Madhu and honoured him on the Madhavasandhya Function held on 28 th February, 2013.


Saturday, February 23, 2013

Assistant Directors who became Directors...


During my long career I have worked with many talented people who started their career as  Assistant Directors and later on  proved their ability to become well known Directors. The list is quite long starting with M.Azad in my first film Vidyarthikale Ithile Ithile to Priyadarshan, Sibi Malayil, Matthew Paul in Padayottam, Sathyan Anthikkad and P. Chandra Kumar with Director Jesey's films.

M.T. ( L) Azad (R) with Sukumaran looking up

Sathyan Anthikkad (L) Director Jesey (sitting) and P.Chanda Kumar (R)

 


Rajan Sankaradi, Shajiyem  and  R.Gopinath can be seen in the photo below taken on Director Balachandra Menon's film Maniyan Pilla adhava Maniyan Pilla. Raju, Ambika and Cinematographer Nambiyathri  can also been seen.


Rajan Sankaradi, Shajiyem, R. Gopinath with Balachandra Menon
Viji Thampi  also had worked in some of Balachandra Menon's film  like Achuvettende Veedu, a location still from the film is given below.


Balachandra Menon (L) Viji Thampi in centre
 In Sundar Daas' film SALLAPAM, Blessey, Biju Varkey and Thomas Sebastian were assisting him.Blessey also had worked  in Lohitha Das' films too.

Thomas Sebastian ( 2 nd from Left)  Sundar Daas and Blessey


Biju Varkey ( L) Blessey (R) with Sundar Daas in Centre

Blessey and Rajesh pillai worked with Rajeev Anchal's English film Beyond the Soul.

Rajesh Pillai second from left  in Rajeev Anchal's film BEYOND THE SOUL
T.S Suresh Babu  was the associate of P.G. Viswambharan in several films. K.K.Haridas, Thevalakkara Chellappan also were P.G.V's assistants.


Akku Akber, Lal Jose, Salim Padiyath and also Dileep (Actor) worked  as assistant Directors with Kamal while Suryan Kunissery was the main Associate. Later on Lal Jose  worked with Director Anil Das in the film Sargavasantham before he became an indepenent director with the film Oru Maravathoor Kanavu.


Lal Jose (Right) with Anil Das ( Centre)
In Director Hariharn's film  ORU VADKKAN VEERA GAADHA, Shrikuttan  was the Associate and Mohandas  was the main assistant.




Shrikuttan (L)  Mohan Das ( extreme right) with Hariharan on the sets of Oru Vadakkan Veera Gaadha

George Kithu, Kareem, Nazeer, Paul Babu, Venu B. Nair all worked in Director Bharathan's films.  Shajoon Karyal, M. Padma Kumar, Sasi Mohan in Director I.V.Sasi's films. 




On the sets of G.S.Vijayan's film SAAPHALYAM - Salim Ahmed on extreme right


 T.K.Rajeev Kumar ( Raghunath Paleri), Salim Ahmed ( National Award winner for Adaminte Makan Abu) , Anil C Menon ( G.S.Vijayan), G. Prem Kumar ( Sasi Kumar), Joseph Vattoly ( Thomas Berly), Johny ( Thulasi Das), M.A.Venu ( Lohitha Das) Sreeprakash ( Lenin Rajendran)  are some of the others who come to my mind.

Although many started their career as assistants  some of them didn't want or they chose to remain as Associate directors for life and are excelling in their field till today.

One interesting fact is that I have been asked to do a film under their direction only by a few like   R.Gopi ( Deivathai Orthu), George Kithu ( Aadharam, Savidham) and Sreeprakash  (Gamanam).

I am very happy to find that many of those who started life as assistant directors have reached the top and had established  their own space in the Malayalam Film Industry!

Thursday, February 21, 2013

D.Gautaman , Genius away from the limelight

When I joined the Film Institute, Poona in 1968  one of the Diploma Films from the earlier batch which impressed me most was " A Love Tale" which was Directed by D.Gautaman. The way a car accident sequence's  shots were edited was a real eye opener of how shots can be taken and used to create an impact much like the famous shower scene in PSYCHO directed by  Alfred  Hitchcock. The film went on to win many awards Nationally and Internationally. His  student Documentary " The Builders" also won a few awards

D. Gautaman, as student at Film Institute

A brilliant student, Gautaman passed out from the Film Institute with Gold Medal along with Prem Sagar ( Motion Picture Photography) and Navin Nischol (Acting)  who both became stars in their respective fields.



At the Convocation -  Front row, extreme right is Gautaman and next to him is Prem Sagar

I was sure that Gautaman will definitely  become a great feature film maker in the Indian Film scenario. For some time he had worked in the Institute as part time lecturer and had also directed a Diploma film "A View from the Fort" in which Radha Saluja did the lead role and I think cienematography was done by Bala Mahendran. It was during his sojourn at the Institute I had the the opportunity to get acquainted with him.He was quiet by nature, with an unassuming personality.It was he who proclaimed that John Abraham was a Genius, says his friend and alumni Kabeer Rowther.
Gautaman later on joined Shri Ramu Kariat to assist him in the Malayalam Feature film ABHAYAM. It ws he who recommended Bala Mahendran as a talented Cinematographer to Director Ramu Kariat  and brought him to Madras from Ceylon. In those days except for Acting students in Bombay few of the Institute Graduates could get a break in the film industry. He found it hard to face  life's insecurities at the Film Industry and sought security of Government job at the Films Division. I was told that he was selected for the job of Producer by none other than the great V. Shantaram. He was much impressed when during the interview Gautaman recollected from memory a long list of films directed by Shantaram !
For Films Division he had produced many Nationally and Internationally award winning Documentaries and rose up to the top as the Chief Producer and retired. Though he ws a native of Kerala, he settled with his family in Bangalore. After retirement  he became a Member of  Advisory Committee of U.P.S.C. While on duty in Delhi for conducting an interview he had  massive heart attack and passed away on 18 th February 2013.
D.Gautaman

He was 73, and  is survived by his wife Saramma and son Soumendhu.
It was a great loss to the Film Industry that he did not attempt to make any Feature film though he was one of the most talented Directors of our time. But Films Division becme the winner by having him at its helm and Documentaries became his forte. Film Industry's loss became Films Division's gain!
Unfortunately his passing way was not given its due importance in the media since  he chose to  work away from the limelight. All I could find only was a  small obituary note in Mathrubhumi Malayalam Newspaper.

He really deserves much more recognition than this. I do hope that his friends and well wishers would  come out with their memoirs and fill the void. I was told that even  on the night before his death he was talking of his time at the  Film Institute  and reminiscing about his fellow alumni who made it into the film industry.
My heartfelt condolences to his bereaving family.

Sunday, October 28, 2012

A Captain's Salute to A Soldier

During the location  shooting of K.G.George's film "Elavamkodu Desam"(1998) at Olappamanna Mana at Vellinezhi,  actors Thilakan, Narendra Prasad and Captain Raju were staying in the same hotel near Ottappalam. Although Captain Raju did several roles in many films as Villain, it was the character of Aringoder in ORU VADAKKAN VEERA GAADHA that brought up his acting potential in him. After that film onwards he had changed his mind and refused to do negative character roles in further  films.

During one of the after shooting drinking sessions, Thilakan, Narendra Prasad and Captain Raju were having a heated discussion about performing in films, stage etc. Prof Prasad and Thilakan went deep in to the merits and demerits of various styles of acting in theatre, dance, classical arts etc about which Raju didn't have any clue at all. Finally when Thilakan remarked something about the wooden faced expressions of Raju, he could not bear any longer  and burst up - " Thilakan! You may be the Award winning Best actor in India, but remember I am a Captain in the Army and you were just a foot soldier. As a superior Officer whenever you see me,  you are bound to stand up in attention and salute me !."

Captain Raju's Farewell Salute to Thilakan

Whether it was intentional or not , the above incident came to my mind when I witnessed the scene of Captain Raju giving the Farewell salute  to Thilakan's body lying in state at the V.J.T Hall, Thiruvananthapuram. Here is a Captain saluting a Soldier - yes, a Bold, Brave Soldier who single handedly fought against all evils in the film industry!

Thilakan and Babu Nambbodiri in
Elavamkodu Desam



On Location at Elavamkodu Desam ( From L to R) Bharat Gopi, K.G.Georgr Mammootty, MAK Ali, myself and Thilakan

I had known Thilakan for more than 40 years,  ever since he started his career in films in P.J.Antony's Directorial venture PERIYAR. At that time (1972) I was at Alwaye shooting the film RAGGING (Director: N.N.Pisharody ) which was scripted by P.J.Antony. Later on we worked together on  K.G.George's film KOLANGAL  based on P.J Antony's subject. It was only YAVANIKA which brought Thilakan to limelight and earned him the First of the many State Awards. Since then I had the opportunity to work with him in several films including a Double role in  MUGHAMUDRA directed by Ali Akbar.

Like a jack fruit he had a tough thorny outside  but a soft sweet interior. His tough looking exterior might frighten people but when you become closer you will understand his goodness and outspoken nature. He had the  natural tendency  to pick up arguments for argument's sake, and relish it. For example, when some one on the sets greets him "Good Morning , Sir!"He will call him and tell  " Hey, what is so good about the morning, today is just like any other morning, so don't use the word  good  when you are wishing" Then the guy agrees " Ok. Morning Sir!" Then Thilakan will retort " Oh man, It is morning only and everybody knows it and why you have to say it again" The guy surrenders and says just  " Sir" Thilakan  cuts him off by saying"Look , we are all human beings and all men are equal,so  please don't call me sir" The dumbfounded poor fellow avoids greeting him from the next time onwards.

He was always precise with his words. When he reads the script he will point out unnecessary words and repetition of dialogue. And most of the time he as correct and the Directors made the necessary changes in the script. Being a Theatre Director,  he had an excellent sense of performance and dialogue delivery.

I distinctly remember him arriving on the location of the film GHAZAL (1993) at Perinthilmanna in his Fiat Premier 118NE car. It was just after his By Pass Surgery at Chennai and he had driven the car all the way from Thiruvananthapuram to Perinthalmanna all alone. When we asked him why he had not taken the services of a driver , he said he never liked others driving the car. He had consulted the doctor regarding the driving and he had advised him to take a few minutes rest and a little walk after every hour of driving. But he didn't stop that many times and drove on . That shows his will power and boldness. Any other person would have arrived with a driver and helper just to show off.

We had to film an early morning song in a Mosque set with him and Vineeth and it required him to get up early at 4 AM and be ready with make up and be on the set by 5 AM. As we have to shoot just as the sun rises we had only a few minutes to take the shot. So the song was shot over several days, early in the morning and in spite of his physical conditions he was already on time to take the shot. Such was his dedication towards work.

Though Thilakan had acted in a notable role in Director K.G.George's  film KOLANGAL,  it was a stage curtain that was instrumental in landing Thilakan  his First State award winning role in  K.G.George's film YAVANIKA. The Production Executive of the film P.A.Latheef,  in order to save production costs suggested to George, that if we book Thilakan for the role of the Drama troupe owner we can also get the stage curtain for free as Thilakan was running his own  Drama Troupe at that time.So, whenever the shooting schedule of YAVANIKA was fixed, Latheef would telephone Thilakan to remind him to bring the stage curtain along with him !

The last film  work we did together was the Film SAPHALYAM(1999) directed by G,S,Vijayan and after that we could not get an opportunity to be associated together. Of course I occasionally used to meet him at public functions and at  his daughter's marriage. The last time I saw him was at the Thiruvananthapuram  KIMS Hospital a few days before his demise and that time he was in a totally unconscious state.

Indian Cinema had lost a Great Performer and upright Personality !

On Location of the film SAPHALYAM with Director G.S.Vijayan

Sunday, January 22, 2012

My Unreleased Tamil Films - 2

The film PAADUM VANAMPADI which was the Tamil remake of Mithun Chakraborty's Super hit Hindi film DISCO DANCER, starring new comer Anand Babu ( son of veteran actor Nagesh ) was a very great Musical hit and ran for more than One Hundred days at Chennai and other centres. The Director of the film M. Jayakumar was flooded with many film offers from big production companies. After some failed projects he took up a film named KADHAL VIDUTHALAI. The Puja invitation card can be seen below:






The film starred Ramki, Janakaraj, Nizhalgal Ravi, Vennira Aadai Murthy, Nishanthi, Manorama, Subha etc. and Music by S.A. Rajkumar. The shooting took place in Chennai and Ootty and other locations.



With Director M. Jayakumar

Actress Manorama with the crew

The film shoot went on smoothly without any hitches. The editing and re-recording done and finally the first copy was taken. Unfortunately there was some dispute amongst the producers and the film never got released ever. After a few years I heard that there was a change of title and the film will be released, but that never happened.

The Director Jayakumar never could make any other film and had started a retail business for livelihood.


Another Tamil Film that failed to take off


Director Bhadran wanted me to work in his Tamil film EZHAVATHU SWARAM in which he wanted to introduce Actor Vineedh to Tamil audiences. The Puja was conducted with all pomp and publicity with Chief Minister Kalaignar Karunanidhi inaugurating the function. But the film never progressed any further!