The K. Balachander Award is not just one of those things for Mouli. A talk with him reveals the deep friendship and the mutual admiration the duo had for each other. “He was very happy with Oru Pullanguzhal Aduppu Oodugirathu.’ ‘You think like me,’ he said. I was on cloud nine. We used to go to the beach and sit discussing cinema, his scripts, future projects, etc. “I was a kind of sounding board for him and till his demise I showed him whatever I was doing. Discipline and perseverance were two of his traits that I imbibed,” says Mouli and remembers an episode, which underlines KB’s integrity and respect for his disciple’s talent.
“That was the time KB’s Poikkal Kudhirai had released and was not doing well at the box office. The pressure was on me to complete in a week and release, ‘Anne Anne,’ which I was making. ‘Impossible,’ I told Pyramid Natarajan, Kavithalaya’s production manager. I have more than half way to go. But he insisted. ‘I will provide with whatever you want. We are holding excellent theatres,’ he said. The unit worked round-the-clock. Natarajan kept his word and the film was released even before I could see it. I entered Krishnaveni, where KB received me. Holding my hand he said, ‘Sorry, I put you into difficulty.’ He had given me prime theatres on a platter and was apologising! He was unaware of the circumstances in which my film was finished. I was in tears. My luck held and the film was a hit.”
KB was not well and Velli Vizha needed to be cut. He simply suggested that Mouli do it. Such was the faith he had. “ Arangetram shooting was in progress and he wanted me to write a comedy track, brushing aside my protests. I did the track but firmly told him that the film would do better without it and we ditched it. But he had his way in Nizhal Nijamagiradhu and my Manmatha Naidu cameo was a highlight.”
Television project
In television, Mouli found a way to stay in touch with the Tamil audience. “Tirumurugan reassured me that my character was pivot to the story and dignity would not be compromised. That’s how I became a part of ‘Nadhaswaram,’ which found a resonance across the State,” he recalls.
With the Balachander Award, life perhaps has come a full circle for Mouli. Like his mentor, will he also return to theatre? “You bet,” he responds. “Forty-five films and two decades later, my heart aches for the arc lights,” he confesses. Apart from the theme and content, Mouli was known for introducing new elements in stagecraft. For instance, he was the first to make optimal use of the stage by dividing the space vertically, to capture different scenes. “I did away with the orchestra,” says Mouli. “Instead audience at my plays heard recorded music, melodious and appropriate. Sitar, violin and the mridangam were used and we had music rehearsals,” he explains.
Does he have an ace up his sleeve? ”Well, I’m clear that my comeback vehicle should be absolutely new to the Tamil stage. Definitely it won’t be run-of-the-mill, I promise,” the veteran signs off with the teaser. So, let’s wait for Mr. Chandramouli’s second innings.
