തകഴിയുടെ ചലച്ചിത്രമാക്കപ്പെട്ട പ്രശസ്ത കൃതിയാണ് ചെമ്മീന്. അതിലെ ഒരു പ്രധാന നടനായിരുന്നു താങ്കള്. എങ്ങനെ ഓര്ക്കുന്നു അക്കാലം.
എന്റെ തുടക്കകാലമായിരുന്നു അത്. എന്നെ സിനിമയിലേക്ക് കൊണ്ടുവന്നതും വളര്ത്തിയതും രാമു കാര്യാട്ട് ആണ്. അദ്ദേഹം ക്ഷണിച്ചപ്പോള് സന്തോഷം തോന്നി. ചെറുപ്പക്കാരനായ ബാബു ആയിരുന്നു നിര്മാതാവ്. ബാബുവിന് ഞാന് ആ റോള് ചെയ്യണമെന്ന് നിര്ബന്ധമുണ്ടായിരുന്നു. അക്കാലത്തായിരുന്നു എന്റെ വിവാഹം. എനിക്കത് വിവാഹസമ്മാനം പോലെ തോന്നി- 1964ല്. രണ്ടു വര്ഷമേ ആയുള്ളൂ സിനിമയില് വന്നിട്ട്. ഹൈസ്കൂളില് പഠിക്കുമ്പോഴേ ചെമ്മീനും പരീക്കുട്ടിയും മനസ്സിലുണ്ടായിരുന്നു. അഭിനയത്തിലും വായനയിലും താല്പര്യമുള്ള എന്നെപ്പോലെ അനേകം പേര് ഈ കഥാപാത്രത്തെ മോഹിച്ചിരുന്നു.
All in all, there were 13 movies produced by Madhu, under the Uma Arts banner, from his Uma Studio. As a producer, I think it was a uniquely daring initiative by an actor of those times, hardly a decade into the industry, construct a full-fledged movie studio, move into direction and then production under his own banner !
Of the tiny trickle of search request terms that Google so generously dumps at my doorstep, the third most popular term of all time is “Madhu film“. I guess, that, though itsy-weeny-teeny miniscule in volume, is an indicator of the popularity and the affection that he enjoys as an actor, or shall we say, as one of the patriarchs of Malayalam cinema.
The once ‘Hindi Lecturer’ was a unique personality who never ever upset the ‘business equations’ of the existing power centers of the Malayalam cinema industry which he stepped into, with Ninamaninja Kaalpaadukal (1963), but ensured that he was adept to mold himself into any role, without any inhibitions, that resulted in some of the memorable movies and characters that have become a part of our legacy. Then again, hey, this is my personal opinion.
How difficult is it to map the ‘evolution’ of an actor whose career across three main domains of films stretch over 5 decades?
Very difficult, I would say.
On second thoughts, extremely difficult. Yes. Extremely. Here was an actor who was nothing of the likes that was ever present in Malayalam cinema in the times that he stepped in to the industry. One of the top three rank holders from the National School of Drama, here was someone who was hungry for roles that challenged his inner discipline as an actor. Here was someone who chose to hang around with the doyens of the neo-cultural wave of Malayalam cinema of the 60’s, exploring the possibilities of making good every creative one from their wordsmithys that came his way and was no stranger to being on both sides of the camera.
Madhu puts forward a very interesting and thought-provoking perspective on the whole ‘business of production and direction’ in a recent interview which I was glued to, where he talks about the craft of direction and production being a part of the multiple domains that one needs to have a grasp on, when you create your story for the screen. He says the most optimal state is when one is a Director yet have a deep understanding of the way every domain work together to bring the result that you have in your head. I think, in direct inference, it also gives one a healthy dollop of confidence to try and dare traverse unknown terrains, willingly take risks, because you have knowledge and experience on your side to reasonably guide you.
I do not know how many of you have read this or skimmed through it in Malayala Manorama a few days back, but this sure gives me the jitters (and not in a good sense at all ). According the blurb, Vijeesh Thampy has initiated a project, tentatively titled “Avatharam” , a full-length feature film strarring ummm..Jayan ! Apparently, Kannan Nair, Jayan’s nephew is also an active partner of the project. TA Shahid ( Rajamanikyam, Mambazhakkalam) will be taking care of the screenplay, and they intend to release the movie by April 2011.
S Pavamani, who passed away on 31 August, 2010 joins the ranks of an illustrious visionary greats from the old school of Malayalam Cinema, who will invariably turn footnotes if they are lucky. He belonged to that rare breed of producers who had an uncanny capability of finding productions or talents that would make them with the right balance of art and money. Though, for most of the times, he was willing to forgo the money part, and went with his convictions.
Else, how we would ever get greats like MT, Sathyan Anthikad and for that matter, our nightingale, KS Chithra become a part of the Malayalam film industry. He started as a distributor in the early 60’s, with getting the Ashok Kumar starrer Jeevan Sathi ( 1957), directed by RS Tara to Kerala, which was the precursor of things to come.I guess Pavamani was the one who made the Malayalis familiar with the then running superhits from up North, even going as far as Calcutta and getting Ray’s films down to Kerala. It is said that he was a great friend of Satayajit Ray, which explains how Debi (1960), Mahanagar(1963) and Charulata (1964) enjoyed their screen time, way down south in Kerala, a place which curiously had absolutely no idea how Bengali sounded like, and I’m sure at great personal risk in the commercial sense !