Giving the film its looks

South Indian cinematographers are in huge demand amidst big names in Bollywood. Almost all of them have nurtured and trained a remarkable pool of artists

December 15, 2016 04:57 pm | Updated 08:03 pm IST

CHENNAI, 05/12/2013: Veteran film director and cinematographer Balu Mahendra, during an interview with The Hindu in Chennai on Thursday. Photo: S.S. Kumar

CHENNAI, 05/12/2013: Veteran film director and cinematographer Balu Mahendra, during an interview with The Hindu in Chennai on Thursday. Photo: S.S. Kumar

M ani Ratnam has always been jealous of PC Sreeram. “I just don’t understand how he does it,” he used to say in an incredulous tone and nothing has changed. They both started their respective careers around the same time but PC’s school of cinematography has spawned more talents than the Mani school of direction. Even the few who have made it from the latter’s school are floundering. One is just recycling Mani’s films in Hindi and the difference is stark. Now this does not mean that PC is a great teacher and Mani is not. Both are introverts and the language they are most comfortable communicating in is cinema. Sreeram graduated from the film institute while Mani decided on direction because “I was confident I could make better films than the ones being made,” like he once told me. He confessed that he depended largely on his cinematographer Balu Mahendra’s guidance during ‘Pallavi Anu Pallavi’ because Balu had already directed ‘Kokila’ and Mani loved his style. His collaboration with PC continues because he has worked with others but feels nobody can beat him where composition of a frame is concerned. “I know I have a winner when PC is excited as I narrate a script,” says Mani.

Strangely more of Balu’s assistants in the direction department have emerged as sensible filmmakers than cinematographers. Mani hired one of them to shoot ‘Idhaya Koil’ purely because he was Balu’s assistant and realised he’s learnt next to nothing from his illustrious guru. The problem lies more with the student than the teacher because it is more practical than theoretical. There are no special classes. The workplace is the classroom and the one who grasps faster learns better. So it is not Mani’s failure.

It’s not just PC but also Rajeev Menon and Santosh Sivan who have nurtured and trained remarkable talent. South Indian cinematographers are the most sought after amongst the big names in Bollywood. The Telugu film industry was used to gaudy sets and glossy cinematography. Things have changed. The younger generation of stars like Mahesh Babu, NTR and Allu Arjun seek the best technicians. It is around twelve years since Ratnavelu shot ‘Arya’ and his work is still talked about along with ‘Jagadam’. The latter has in fact inspired many in Andhra to take up cinematography. He continues to be the most sought after with films being planned according to his availability. The only aspect that continues to be talked about in Mahesh Babu’s ‘Nen Okkadine’ is the cinematography. It is not just the quality of work but the speed at which it is achieved and the involvement in all aspects, creative and financial. It is not about making someone look good but giving the film a suitable tone and maintaining it. Ratnavelu has just wrapped up Chiranjeevi’s 150th film and the megastar is mighty pleased.

Ratnavelu is an emotional person and you will be able to sign him with affection more than praise. He has been hurt by a couple of big names in the Kannada film industry but refuses to dwell on it. He was in Bengaluru to shoot an advertisement for a famous sari brand. “I couldn’t refuse because the director is a very nice young guy.” They had to wrap it up in one day because of budgetary reasons and the results were remarkable even though it was rushed. Shooting with two models at the Bengaluru palace, he would not just light up and sit back but would spruce up the foreground and background to stunning effect. The most ordinary of places would look beautiful as a frame on the monitor. Ratnavelu is from the Rajeev Menon School of cinematography but has evolved his own style. He keeps updating himself because technology is just a useless tool if you don’t know how to utilise it. He has had to postpone his directorial dreams purely because of offers he just cannot refuse, emotionally more than economically.

S.Shiva Kumar

sshivu@yahoo.com

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