Love or hate Udaykrishna’s scripts, one can’t ignore the commercial success of his stories. As one half of the erstwhile Siby K Thomas-Udaykrishna duo, he has churned out hits such as CID Moosa, Thuruppugulaan, Twenty 20, Pokkiri Raja and Mayamohini .
After parting ways with Siby, Udaykrishna became an independent scenarist and teamed up with director Vysakh for Pulimurugan , which became one of the highest grossers in Malayalam. His latest is the Vishu release, Madhura Raja , directed by Vysakh with Mammootty in the title role.
While agreeing that there is a formula that over-the-top entertainers usually adhere to, Udaykrishna claims that it is needed when the investment is that big. Edited excerpts from an interview...
You are mostly identified with loud comedies...
I have written 40 movies. with Siby and on my own. We were known as writers with a flair for comedy right from our early days. We did make an effort to diversify with films like Twenty 20, but comedy is important to keep an audience engaged throughout. It is also a challenge to involve the hero as part of that track.
Any formula while scripting big commercial ventures?
It depends on the basic content. The superstar flicks follow a certain structure. The clash between the hero and the villain, the excesses of the villain and how the hero takes his revenge... that has been the pattern followed for several decades now. Artistes and style of presentation have changed over the years.
It has been an eventful journey for you in tinsel town, starting with Hitler Brothers...
Siby and I were assistant directors and it’s the vibes we shared in those days that brought us together as a team. We were waiting for an opportunity to turn to direction. When Hitler Brothers did collect reasonably well, even in the absence of big stars, things started falling into place.
There has been several phases in our career. Initially, we found it difficult to get the dates of big stars. Udayapuram Sultan gave us a break and then came CID Moosa. Then we started working with directors like Joshiy following the success of Runway. That was the time we worked in multi-starrers. When you work with superstars, you get recognised as scenarists and get a chance to plan big-budget movies.
Scenarist Udaykrishna
What is the difference in being a co-writer and being on your own?
Even when you are part of a team, the writing is done by one person after discussions with each other. There might be changes in the story. When you start writing on your own, constant interactions with the director is helpful. Filmmaking is teamwork, once you pencil in on a subject.
Does it bother you that your kind of commercially successful films rarely make an impact when it comes to awards and critical acclaim?
Nothing is more overwhelming than a film that pulls in viewers. When a producer invests huge amounts of money for a venture, there is a responsibility to ensure that the film does not sink without a trace. It is true that I to stick to a certain formula without attempting too many experiments. I don’t have any quibbles with those who point out those aspects in our scripts. At the same time, it is important to realise that blockbusters that shatter box-office records happen only once in a while. So there is a big risk involved while doing commercial entertainers.
Is there a method that you follow while writing scripts for superstars like Mammootty or Mohanlal?
I feel writers like me are approached only to write mass masala films. Mammootty and Mohanlal have already played hundreds of hugely popular characters and have won multiple National awards. So it is never easy to conceive something special and such efforts take time. Once their characters are decided, even aspects such as their introduction in the film, narrative and climax are all carefully conceptualised and executed.
Certain scenes in Madhura Raja are said to be misogynistic, especially the item dance featuring Sunny Leone?
We were careful about not having any misogynistic lines or scenes in Madhura Raja . So such accusations are unfair. The item dance has been done at the behest of the villain in the story. See, these are times when Malayalam cinema finds business outside our territory as well. It is while dealing with the business side that the number of fights or songs get importance. Inclusion of action scenes and dance is more of a compromise in the interest of commercial returns.
Are you planning a sequel to Pulimurugan ?
If the producer and Lalettan (Mohanlal) are game, such a project will definitely be considered.
Any plans of turning to direction?
Not any more. I am happy writing scripts. The next is again for director Vysakh, with Nivin Pauly in the lead.
