Even as Mohanlal-starrer Lucifer reigns over cinemas in Malayalam, the film will be released in Tamil and Telugu today. Scripted by actor-writer Murali Gopy and marking actor Prithviraj’s directorial venture, the film deftly blends politics, drama and action into a high-octane mass entertainer that has been smashing box-office records. While a few critics carp over the political correctness or otherwise of the film, its intentions and so on, viewers have voted for the film without reservations.
Hard-hitting dialogues and pithy one-liners have won the hearts of fans and the success of the film marks the arrival of the writer into the big league of scenarists in Mollywood. With its huge canvas and array of memorable characters, the film has revived the politics-based movies of yore such as Angadi, Eenadu,Vaartha and so on that were huge hits in the late seventies and early eighties.
A still from ‘Lucifer’
After movies such as Tiyaan and Kammara Sambhavam did not live up to expectations in spite of being critically acclaimed, Lucifer has come as a shot in the arm for the writer. Moreover, he has evocatively sung ‘Varika Varika Sahajare’, remake of an anthem that was written by Amsi Narayana Pillai during the Dandi March and written the lyrics of a song sung by Usha Uthup. He has also sung the Tamil and Telugu versions of ‘Varika Varika Sahajare’.
In a no-holds-barred interview, Murali talks about Lucifer , its making and what it means to him. He does not shy away from taking on remarks against a fairly lengthy item dance.
As Lucifer races ahead to become the highest ever grosser in Malayalam cinema, what are your thoughts on your first super hit?
I feel validated as a mainstream writer. All these years, I've had my share of critical acclaim but never had the box-office smile at me the way it has, now. Being an ardent lover of the “single screen experience”, I’ve always wanted my movies to be enjoyed by the masses. I’ve always loved the way mainstream classics connect with the audiences, who, in their pure and uninhibited self, clap, hoot and make merry inside the cinema halls. The joy of making a movie that has an instant connect with the fans, is boundless. Really happy that Lucifer has become such a massive hit.
What was it like to work with stars?
I have always looked at actors as artistes first and then stars. But, in the case of Lal ettan , it is not possible to view him only as an artiste. Since he commands a huge fan following, to discount his superstardom and give stress to only the great actor that he is, would have been, I’d say, suicidal. So, both Raju [Prithviraj] and I were in unison regarding the way we were going to manifest the film. The recipe was to make an appealing superstar entertainer, without compromising on the content. The success of Lucifer has justified our effort.
What is the one-line story or theme that you narrated to Mohanlal and Prithviraj that intrigued them and got them on board?
The trigger idea of Lucifer is simple: “What you see is not what actually is.” The theme and the one-line is obviously what you see on screen — ‘When you strike at a King...you must kill him.’ With Lal ettan , the trust that he placed in both Raju and me, was complete. And we can now confidently say that we have not failed him.
Murali Gopy with Prithviraj
How was your working pattern with Prithviraj?
Raju is one of the most hands-on directors I have worked with. His deep knowledge of the craft of filmmaking has stood him in good stead while making Lucifer , the cinematic size and scale of which is huge enough for a seasoned director to be apprehensive about. The confidence and command he brings to the sets is a lesson for anyone interested in making films. We both share an unparalleled creative vibe, which has helped in making the film into what it is now. A complete awareness of the pop genre was required in constructing this film. And the director-writer hotline was just perfect.
- Favourite characters among your screenplays?
- Each and every character I’ve written so far is equally dear to me. I thank each one of them for revealing themselves to me and allowing me to pen them down on paper.
- Any plans to direct?
- I’d love to. But right now, I've to meet my commitments both as a writer and as an actor.
- Pen or computer? Is there a writing schedule or favourite place to write?
- When I write in Malayalam, only the pen can I resort to. In English, I am better with the keyboard. My study room is my favourite writing desk, for there is nothing else to entice me there other than my own tales, threads and characters.
- A scene or a character that you would like to rewrite?
- Only theatre provides a writer with such luxuries. A movie happens only once. So, I don't harbour any such thoughts. Once a movie is done and gifted to the audiences, I log out of its creative premise forever.
- As a lyricist
- This is the second time I’ve tried my hand at lyric writing, the first being ‘Neti’ in Tiyaan . The opening scene and the end titles of Lucifer function as major thematic keys into and out of the film. So, ‘Empuraane’, which accompanies the end title scrolls, is a major component of the film. I am indeed honoured to have Usha didi sing my lyrics for Deepak Dev’s composition.
Murali Gopy with Usha Uthup
Murali Gopy, the writer before and after Lucifer ...
... is the same, except for the fact that the box-office jinx has been broken. And that is no small thing.
The open ending hints at sequels and prequels. Should we be expecting more adventures starring Stephen Nedumpally, Mohanlal’s character?
It has been made evident on screen that the film is modelled as a franchise platform. There are sumptuous dramatic clues and hideaways throughout the film, which hint at continuity.
In what way was the casting finalised? For instance, the casting of Vivek Oberoi, John Vijay, Suresh Chandra Menon, Sachin Khedekar and so on?
Casting is an important aspect of any film; both Raju and I had spent time and energy on finding the right actors for the characters. Even though this is an out-and-out Mohanlal-starrer, each of the characters that you see on screen has been given his/her flesh, blood, sweat and space.
Murali Gopy with Mohanlal on the set of ‘Lucifer’
With more than 27 characters on screen, how difficult was it to spin a cohesive story that did not slacken the pace even for a minute? How were the characters shaped?
A screenplay, if you ask me, is not devised in a preconceived format. It forms by itself on paper. For me, preparing a screen order is not something that can pre-empt the screenplay on paper. I mostly write the screenplay straight away. Even if there is a scene order prepared beforehand, I can never ever expect my screenplay to be totally loyal to it.
- My next film as an actor will be Kiran Prabhakar’s Thakkol , and Maqbool Manzoor’s ValaVala . I have ticked off a few narrations as well. I have also agreed to write a few films, the announcements of which would be made soon.
Is it because of the myriad characters that you decided not to appear on screen?
No. I just wanted to stay off screen, this time.
Was it necessary to go in for an item dance, which seems to be just eye candy?
What is necessary and what is not...is a subjective thing, if you ask me. The bar dance that is shown in the film has been woven into an action sequence, to start with. The lyric of the song is directly connected to the theme of the movie. A stylish narrative technique and editing pattern has been tried there. And above all, the sequence is not about political correctness. It is about narrative correctness.
As every social media user and a viewer is also a critic, what do you think should be the ideal review of a film?
A reviewer, I feel, must first learn to be a viewer. Every film that is being reviewed must actually be given the first and the sustained chance to speak. It is like adjudging an LBW in cricket; the benefit of doubt must solely be given to the batsman. Go for a replay if needed. But this is not the case, nowadays. Reviewing has become far more formulaic than films. And every other reviewer is running an independent website, these days, which badly needs hits and likes, the same way a mainstream movie needs its viewers. So, the tendency is to be the first to review than be the best to review. I would term this the FDFR (First Day First Review) Syndrome. However, this is not to say that all reviewers are like this. There are well-studied and patient reviewers, but that breed is rare.
Published - April 11, 2019 05:00 pm IST
