On May 30 this year, a film quietly changed the way people perceive the movies. It had no rousing love story, but someendearing cousin bonding. There wasyearning for home, for Palakkadan matta rice, and there was lots of angst. Nearly three months after the release of Bangalore Days , it’s a “hectic and happy” director Anjali Menon who speaks about being a storyteller and doing her kind of movies.
Childhood is an important part of your films —Ustad Hotel, Manjadikuruand the lovely montages inBangalore Days. What was your childhood like?
I had a pretty normal childhood like everyone else but it’s a magical time for everyone, isn’t it? Very much on the lines of Jagjit Singh’s ‘Kagaz ki Kashthi’…
Your films, the ones you’ve written and directed, showcase silent tears. Is this inspired by the kind of films you grew up on or the person you are?
Every film tends to be influenced by the personality of the one who wrote and directed it. But treatment is usually derived from content. The subjects I have dealt with so far required a closer-to-life treatment.
You’ve grown up in and out of the country, butyour films are beautifully desi. Do you see Kerala the way Jhumpa Lahiri sees Bengal, with all its old-world charm and new-age confusions?
Yup, I am that typical mushy non-resident who is in love with the land that she’s been away from. Jhumpa is a very flattering reference, as she’s one of my favourite short story writers. The twin perspective comes naturally to migrants and reverse migrants, as in my case. Our world is dichotomous and conflicted a lot of the times and I think that should be reflected much more in the movies since there is a huge number of us.
With the 172-minute-longBD, you’ve cocked a snook at those who say films must be short. You’ve made a languorous yet movement-filled film…
It is amusing when know-it-all folks spout wisdom about how long a film should be, but the really sensible ones will tell you that no one really knows. I could go against the grain because my producers trusted me.
Films are journeys that filmmakers lead us into. If the journey is interesting to the audience, that’s what counts, not length.
How easy is it for Anjali the storyteller to take on different roles?
I’d like to dabble in all aspects of storytelling, so the more roles, the merrier!
What does Nithya Menen, a constant in your movies, bring to your creations?
Everyone seems to think she’s my lucky charm! But, we’re just friends who met at work. Professionally, we seem to have a combination of instinct and trust that helps when working on a character.
Kerala Caféto now… Have the years lent your work more gravitas?
I don’t really know. I am not some kind of born writer. I struggle to put ideas on paper; it hasn’t got easier. But the past few years, with respect to content, I have learnt not to worry about norms I may or may not know.
Where does your love for minimalism — especially in dialogues and scene framing — come from?
It’s actually a love for space. I find our world too crowded with people, words, thoughts... too many things that mean nothing. So, in the created world where I have a choice, I’d rather just add what is relevant.
Does a part of you still follow what the London Film School taught you?
Plenty of it — anything I know technically comes from there. I miss the work culture there tremendously and try to make it a part of my work here. At times, it works like a dream and, at times, it completely fails!
How important was casting to the success ofBD?
Casting is crucial to any film, but in BD, besides playing their parts well, the actors believed it to be their film. That requires tremendous appreciation. Be it Kerala Café , Manjadikuru or BD , actors in Kerala have been very receptive to the ensemble process. It speaks volumes for the confidence and security they have about themselves. They give us reason to be proud, as I understand this is not possible in other parts of the country.
The film has done stupendous business. How easy was it to pitch the film originally?
I just shared the idea with Anwar (Rasheed) over a casual conversation as an idea I was developing for a friend. He sat up straight and said: ‘You have got to direct this… Let this be the first film produced by Anwar Rasheed Entertainment!’
What are your thoughts aboutBD’s remake?
The remake would be a different film. In my head, I can’t assume the story or characters in any other way, but am sure the other language filmmakers will find new ways to tell the same story. I hope they have as much fun as we had making it!
