‘It’s my instincts at work’

Cinematographer Vishnu Sarma talks about his captivating frames in Malayalam and Tamil cinema.

Vishnu Sarma

The teaser and songs of

Meendum Oru Kadhal Kathai , the Tamil remake of Malayalam blockbuster

Thattatin Marayathu , has been raking up views since they were released on YouTube a few weeks ago. We only get a glimpse of the timeless love story, set to be released in theatres soon, but its ethereal frames, particularly in the soulful number ‘Yedhedho Pennae’ are every bit as eye-catching as in the original. The credit, in part, at least, goes to cinematographer Vishnu Sarma. The youngster from Chalakudy, Thrissur, who has been making a name for himself in Mollywood with scintillating camerawork in

Escape from Uganda ,

Salt Mango Tree and

Kunjiramayanam , debuts in Tamil with the film.

Meendum… is actually Vishnu’s second film, which he shot shortly after he debuted as director of photography in Rajesh Nair’s thriller, Escape from Uganda (2013).

“I was a tad nervous because its director, Mithran Jawahar, is known for standout works such as Yaradi Nee Mohini and Uthamaputhiran . Besides, it was a huge, commercial set very unlike the small one we had for Escape from Uganda . Thankfully, everyone was supportive. From the third day onwards, the crew members were patting me on the back and telling me ‘Shot Ok Chetta!’ Apparently, all Malayali men, irrespective of age, working in Tamil cinema are called chetta (elder brother) and they will only call you as such if they are really happy with you and your work!” says Vishnu, with a laugh.

It’s hard to believe that Vishnu was only 21 when he shot his first two films. Like several of his predecessors, it was an interest in wedding photography that eventually led him to cinema. “The shutterbug bit me when I was in class 10 and that led me to study Visual Communication (University of Madras). It was once I started studying that I got to know about product photography and shooting ad films and then to cinematography,” says Vishnu, now 23 years old. He got his break by filming shorts, particularly the hugely popular

Oru Thundu Padam , directed by Basil Joseph, who later helmed

Kunjiramayanam.

“I’d actually never even been to a proper film set before I started work on Escape from Uganda . And there I was in the wilds of Uganda, ringing in my birthday, working on my debut film! Director Rajesh plied me with a whole lot of responsibility and I quickly learnt on the job what it means to be a director of photography,” he says, adding that he considers each film as a learning curve. “I don’t try to standout. The surroundings inspire me, the subject inspires me, the films I grew up watching inspire me. It’s my instincts at work in each frame. In Escape from Uganda , the subject demanded a lot of realism so we used a lot of low lighting. Meendum …, meanwhile, is an all out love story, which needed beauty to be showcased in everything and that’s why we went for unrealistic, rather radiant frames,” he says.

Vishnu appears to be in his comfort zone working with Basil in Kunjiramayanam . For one, they both are members of aspiring filmmakers/technicians collective, Little Masters, many of whom have since gone on to showcase their talents in Mollywood. “We think alike. We planned the shoot for 45 days and wrapped it up in 36 days because we had planned and worked out the details of every single shot beforehand, spending some 10 days on location. That helped hugely to explore my creative skills. Actually, all the three directors I have worked with were very receptive of my creative inputs,” he says.

Going Rajesh’s way for Salt Mango Tree , Basil has already got Vishnu on board for his second film, Godha , starring Tovino Thomas, to be shot in Punjab and Kerala. Vishnu’s also helming the camera for Midhun Manuel Thomas’ yet-to-be-titled Sunny Wayne-starrer. “Both films have very exciting premises. Basil and I have been travelling with Godha ’s story for a long while now; so, I’m very excited about it. If Kunjiramayanam was a verbal comedy, Godha unfolds visually. There’s much in it for me as a DOP. It’ll be a colourful film,” he says. “With each film, my aim is to showcase my craft in a new way; nothing radical, but something which will make the directors, producers, audience, sit up and take notice,” he adds, as he signs off.