He entered the film industry to become a writer and director, but today, G.M. Kumar’s calling card is that of an actor. Nearly 20 years after he bid adieu to the film industry, Vasanthabalan discovered the actor in Kumar and cast him as the father in Veyyil . After that, he’s played roles with gravitas in a handful of films. He was dramatic as ‘Highness’ in Bala’s Avan Ivan , in a role that ultimately required him to strip for the camera. Now, he teams up again with the same director for his ambitious Thaarai Thappattai that stars another director, M. Sasikumar, and Varalaxmi Sarathkumar in the lead.
Kumar essays the role of Sasikumar’s father, a nadaswaram player, and all he will say about the role is that it has “many nuances”. “I’ve been in the industry for 35 years now. I’ve been truly impressed by two rare directors — Bhagyaraj sir, with whom I worked on more than 10 films, and Bala sir,” says Kumar.
He says that all accolades for his performance in Avan Ivan , and possibly this movie, must go to Bala. “I know I am a terrible actor. But he tapped something in me and the result was magical on screen,” he says.
Kumar speaks with bitterness about his initial stint in the industry. “I directed four films — Aruvadai Naal , Pickpocket , Irumbu Pookkal and Uruvam . All of them were chopped mercilessly by the Censor Board. Everyone speaks openly about intolerance now. Earlier, it was the closet queen! I was a victim of intolerance. I refused to be part of a set-up where I could not make the movies I wanted. I was so disillusioned I did not travel to accept the Andhra Pradesh Government’s Nandi Award. I moved on to anthropology, documentaries… When I returned, my cupboard was empty. I was in a vacuum; I guess that added shades to my acting. I was ready to absorb everything. While shooting the ‘stripping’ scene in Avan Ivan , I was blank; my character of ‘Highness’ was broken. Bala fused the real and reel personae beautifully.”
Thaarai … is also special for Kumar because it features the music of Ilaiyaraaja; it is the maestro’s 1000th film. Kumar and Ilaiyaraaja go back a long way, to the time when he was a director.
“I can’t describe my joy that he’s scoring music for this film. He redefined films with his background score. There was a time when the screenplay would be written keeping in mind his powerful score,” he recalls. Aruvadai Naal ’s melody, ‘Devanin Kovil’, was almost scrapped because Ilaiyaraaja felt the screenplay did not require another song. Ask him about it and he says, “But, I was greedy; I wanted one more song. It’s a long story how it ended up in the film,” he laughs.
Kumar is now working with Karthik on Zinda . “I’m open to anything interesting that comes my way. I’ll be frank. I have no paradigms…My cupboard is still empty. I exist. And, strangely, I enjoy the space I am in.”
