Murali. G was transfixed, as he watched Rajinikanth through his camera lens. For a brief moment, the superstar looked as if he had grown 30 years younger. “The moment he walked into the frame as a young don, sporting Malaysian-style floral shirts and a 1990s’- style haircut, I felt his charisma. Till then, the fact that I was going to shoot Rajinikanth had not sunk in.” Murali, a young cinematographer, calls this a life-defining moment of his career, which includes his work in Madras . The FTII student is back again as cinematographer with Pa. Ranjith for Kabali .
Describing the Rajini impact, Murali says, “I am a newcomer and hardly qualified to talk about Rajini sir’s acting prowess. But I saw how calm and observant he was on the sets. After his shot, he wouldn’t go back to his caravan, but spent time with us. Seeing his love for cinema, I became a fan all over again. ”
Rajini quizzed them on the film, the camera angles and the composition. He was up-to-date about technology, adds Murali.
In the film, Rajini plays a 60 year old and a 32 year old. “He takes it to another level when he acts the younger character. He was so subtle. But, once the shot is over, he is back to his old self.” Radhika Apte pairs up with the superstar. She is extremely photogenic and very dedicated, says Murali. “They are not together in all the scenes. But Rajni sir would make it a point to watch Radhika’s performance. He would say, ‘She has done a good job. Now, I have to push myself.’”
How did a boy from Karappattu village in Krishnagiri district make it to the world of Kollywood? Murali’s story is no less engrossing than a Rajini film. He studied in a Tamil medium school and was not fluent in either English or Hindi. He picked up painting from his artist mother and studied art at the Government College of Fine Arts, Kumbakonam. His love for images brought him to Pune.
However, when he appeared for the entrance interview at the Film and Television Institute of India (FTII), Pune, he needed a translator. The board members sensed his passion for cinema and flair for images. “You need not worry about the language barrier. You can learn cinema through different ways,” they told him.
Now, Murali is a leading cinematographer in the industry known for his realistic treatment. “I did not want to be a filmmaker or a technician. I was happy to be a spectator. But, in FTII, my perception of cinema changed. It was a different tradition there. There is no syllabus or rote learning. Only your genuine interest in cinema will take you forward,” he says.
The four years on the campus gave him a fantastic exposure. He watched world classics; three films was his daily fix. He says that FTII was more than just a university where you got a degree.
“You make friends for life there. The seniors are always helpful and guide you. I still keep in touch with some of them.” It’s not just what you learnt in the classes; the conversations and discussions also helped students grow into fine technicians and filmmakers.
The National Film Awards committee watched his film Shyaam Raat Seher and described it as “imaginative yet minimal”. He won the prestigious Rajat Kamal in 2010. He exhibited the same imagination and creativity when he shot Madras .
He used natural light sources and a realistic setting. “I like compressing an idea. For example, in the place of too many shots, I prefer that perfect shot which will capture the scene’s emotional intensity. But, again, it depends on the script. If it is a fantasy, I will go for a different approach,” he says.
The technical crew of Madras has come together for Kabali as well. This is his second outing with Ranjith, who is also a product of the Government College of Fine Arts. “Ranjith gave us enough space. I have a special rapport with him. We knew each other from our days in college. I can visualise what is he is trying to say. We share the same ideology and world view. We didn’t need story boards to understand each other while working for Kabali .” As a camera man, his duty was to be faithful to the script. “My techniques should not overshadow the script. If people talk about my camera work after watching the film, that means I have failed.”
Kabali is not just about high-tech effects. The film promises to move away from the clichés. It is anchored to a strong script. “You will see a different side of Malaysia, not just the usual high-rise buildings. The songs are not fitted into the film just for the sake of it. You will not see the hero and heroine dancing in front of skyscrapers. The songs contribute to the story progression.” But you will feel the Rajini flavour, Murali assures us. “The fans will not be disappointed. There is enough to whistle and applaud.”
