Seven state television awards for one serial, Kali Ghandhaki , produced and directed by actor-director and writer Madhupal and telecast on Amritha channel, must be a record of sorts. This comes at a time when many Malayalam television channels have resorted to telecasting, that too at prime time, regressive serials in Hindi dubbed into Malayalam. Or serials that are nothing more than sob sagas, which are stretched endlessly without any reason.
The well-made Kali Ghandhaki came as a breather for beleaguered viewers who had little to choose from. Based on G.R. Indugopan’s eponymous novel, Kali Ghandhaki , it was a thriller that had shades of a periodical myth, drama and mystery. It bridged two periods of time and focussed on a photographer and artist Sathish Chandran’s brush with adventure. In the course of his work to revive some old paintings and photographs for an art gallery, he gets caught in a series of strange events.
Not surprising that the versatile Madhupal is on cloud nine even when he is immersed in post-production work of his new film Oru Kuprasidha Payyan.
Actor-writer-director Madhupal
“I approach every work that I do with sincerity and that is what I did in the case of this serial as well. Instead of trying to cut corners or save on technical niceties, I lavished all the attention one would give a film to each episode of this serial. We had the best of cameras, crane, jib and all the works to ensure that each frame would enhance the narrative,” says Madhupal about his third serial for television.
Visual treat
Instead of the terribly unaesthetic and unimaginative close-ups that one is used to seeing in soaps, Madhupal widened the frame to make it an enriching viewing experience for the audience.
Madhupal points out that many directors working for the small screen seem to have forgotten that the small screen has become much bigger than what it was.
“From 14-inch screens, we have televisions that have 48- and 52-inch screens. I fail to understand why our directors have to confine their frames to close-ups that don’t show anything other than faces and walls,” says an exasperated Madhupal.
Since Madhupal had to assume multiple roles during the making of the serial, he explains: “It was a strain to don the roles of producer, director, writer and actor at the same time. However, being the producer gave me the leeway to do things the way I wanted to instead of trying to make do with whatever was available. We were able to go outdoors and include night shots and even capture some frames in the light of a mobile phone,” he says.
Another saving grace was the fact that the serial was based on a novel. Thus, there was little chance of it being dragged endlessly with new characters and twists. “I would not have done it either,” asserts Madhupal.
Once he is done with the Thomas Tovino-starrer Oru Kuprasidha Payyan , which is again a murder mystery, he plans to keep the door open for more programmes on television. “I don’t have any kind of an attitude issue when it comes to the small screen. If I get the opportunity, I will certainly continue making content for television,” he avers.
As he points out, both cinema and television have their challenges and it is up to the content creators to come up with programmes that appeal to viewers without sacrificing logic and aesthetics.
ROLL OF HONOUR
Best director: Madhupal
Best actor: Krishnan Balakrishnan
Best story: G.R. Indugopan
Best music: Kallara Gopan
Best camera work: Noushad Sherreff
Best art: Ajith Krishna
Best dubbing (male): Radhakrishnan S.
