Sense of being

November 27, 2014 07:27 pm | Updated 07:27 pm IST - Thiruvananthapuram

Anoop Menon

Anoop Menon

Talking to Anoop Menon is always refreshing. There are quotable quotes peppered with deep insights and a bit of his signature nonchalance. He does not mince words and can be as scathing as he is generous with praise. The actor, screenplay writer and lyricist is back at the marquee with The Dolphins , directed by Diphan and starring Suresh Gopi in the lead. He has scripted the film – his eighth – and has acted in it too. As with many of Anoop’s scripts, this film too comes packed with witty one-liners and lots of adult humour. Anoop takes a few questions about his career and his creative process. Excerpts from the interview…

Tell us a bit about The Dolphins

The film may be about a rags-to-riches guy’s craving for respectability but at its core it’s actually about the selflessness of mothers. In all my screenplays, I have been exploring various aspects of femininity.

In Beautiful , for example, I explored the wily side of women, through the character played by Meghana Raj. In Trivandrum Lodge , the character that Bhavana plays is the epitome of the ideal wife; one whom you would ruminate on and grieve over when she is gone. Juxtaposed with that is the character of a woman, essayed by Honey Rose, who has no qualms about expressing her sexuality. The Dolphins is my tribute to all those selfless mothers and women that I have ever come across, including my own mother, Indira. Some 75 per cent of mothers that I have seen are like that, all of them worthy of emulation.

What draws the scenarist in you to a subject? Be it Beautiful , Trivandrum Lodge or Hotel California , all your scripts play to a certain demographic.

I just write by instinct and my screenplays are often the effort of a year-long penance on a subject.

There is no thinking process as such with regards to the audience. I’m nowhere as intelligent as actor Dileep, for instance, when it comes to judging an audience, knowing the play and type. No, I’m not underestimating myself.

I just don’t believe in comparisons; I run my own course. At the end of the day, nobody is inevitable and the show must go on. If you want to be in the show be intelligent!

Actor, scenarist, and lyricist. How do you reconcile your multiple roles in filmdom?

There’s no reconciliation as such. I love cinema and I am enjoying each part of it, each word and expression. Language has always been my forte and acting is something that I have been doing all my life – they both come by default.

I have a fondness for words. On that note, I don’t consider my lyrics to be all that great. I like to call myself a supplier of words rather than a lyricist.

How about directing a film?

Frankly, I don’t think I can take on much of the responsibility and stress that come with direction. I am content with what I have and I am not that ambitious. As it is, I feel I don’t deserve even the success I have achieved.

Do we detect a trace of modesty…?

Not at all. I’m still as irreverent as I’m touted to be. (Laughs) This is more of a revelation. There are so many young acting and writing talents that are vastly superior to mine.

Does that mean Malayalam cinema is at a good phase?

Absolutely. Malayalam cinema is blossoming. There’s lots of good talent in the industry now. Look at the cinematic vision of an Amal Neerad or a Lijo Jose Pellisherry. I am genuinely happy for the industry. It also means a lot of competition for me.

The reality is not that you are there, but he – your competition – exists. The only way to get one step ahead of the competition is to keep updating yourself. I update myself by reading, travelling and being in the loop.

Do you think our films are turning away from harsh realities?

Well, Malayalis never really had much in way of harsh realities per se, other than issues related to health or the state of the roads. As a population, we do not have a history of trauma related to the Partition, the worry of a communal divide, poverty, hunger and such.

When I was shooting in Shimla, I came across a village that is cut off from civilisation for six months of the year; in some states honour killings are prevalent and the way they treat women and the so-called lower class is deplorable. I have seen gun-totting lawlessness when I was travelling through Uttar Pradesh. Here, on the other hand, even the Mullaperiyar issue is not that big an issue for the majority of the population. Most of us lead middle class, almost bureaucratic, lives and that’s the fodder for our films.

You had just three releases this year – 1983 , Angry Babies In Love and Vikramadityan , apart from The Dolphins . Any particular reason why you have drastically cut down on films?

It’s deliberate. I’m taking things slow at the moment and have restricted myself to four or five films in a year.

It’s simply because I am in no hurry to do anything. I have lots of reading to catch up on, lots of films to watch and lots of travelling to do!

What’s next?

I’m presently shooting for Saji Surendran’s She Taxi in Coorg, opposite Kavya Madhavan. It’s a fun ride wherein I play a jobless guy. Actually, there are four jobless guys in the movie played by myself, Suraj Venjaramoodu, Noby and Tini Tom. My character has an interesting story, three years prior to the start of the narrative, which unfolds over the course of the movie. I’ve also signed up for a M. Padmakumar movie.

I am playing an important role in Prithiviraj-starrer Pavada , to be directed by Marthandan and produced by Manianpillai Raju. I am starring in editor Don Max’ directorial venture, which is a genre that’s hitherto not seen in Malayalam cinema.

And finally, I’ve got Puluvan Mathai , a big budget film set in Dubai, Darjeeling and Kochi, which reunites the Angry Babies team.

You’ve also got your upcoming nuptials to look ahead... How’s it that Malayalam cinema’s chronic bachelor finally decided to bite the bullet?

(Laughs) I’ve never said that I will never marry. I thought of marrying, found a great woman and I am marrying her!

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