In all the acclaim for Jyotika’s comeback vehicle, 36 Vayadhinile , there’s one name being constantly mentioned — Viji. The director-turned-reluctant-dialogue writer went into hibernation post- Vellithirai , and announced his return in style. Women are whistling at his empowering lines, and men are pondering what they can do to set right the fragile gender imbalance.
“There is a clear disconnect between the lead couple in the movie. The character played by Rahman is modelled on the many men I see in real life; people who aspire for a better life and miss out on the small joys. I’ve also seen women like Jyotika’s character who delight in the small joys, such as a plate of pav bhaji with a friend. That keeps them going with renewed vigour,” says Viji.
He says he wanted to use this film as a platform to put forth certain views. “I wanted to make a point about women who give up their all for family. They take so little time to think of themselves. So many women who starved to raise their children have been left uncared for…why give your all?”
Many found the thinking radical, but Viji has always batted for sensitivity. His leading men (be it in films he directed or wrote for) always have integrity and his women are a mix of gentleness and substance. For instance, Vellithirai, directed by Viji, had a soft, earnest hero brimming with heroism of a different kind; Mozhi , he wrote, had a fiery heroine who spoke volumes with her silence. “And to think I am an accidental dialogue writer. I meant to be a director, but some of these writing opportunities were too good to pass up,” says Viji, who started his career directing Alli Thandha Vaanam . “With direction, everything is a gamble. Things have to fall in place. But, with dialogues, everything is in my control. I just need a pen and the script,” he says.
So, what did he do after Vellithirai , a film on the industry? Did its commercial rejection force him to regroup? “It hurt me deeply. Though it had a 60-day run in many places, it did not enjoy popular success. I know the pain of rejection. Rejection sets you back several years, and prevents you from continuing at the same pace, but I still maintain that Vellithirai is well-written and one of my best.”
After that, Viji waited for a year-and-a-half for a contract that did not materialise. “So I got together my team and we decided to not make any movies for the next two years. We just watched and discussed movies, observed the world around us, ate and slept. We were all set to move towards a different kind of cinema when the chance to write for 36 Vayadhinile came. I liked the idea and that trust paid off,” he says.
Based on the learning of the past two years, Viji is to shortly start work on a project featuring newcomers. “The preparatory work is on. The film will show how I have evolved. I am like a new building within the scaffolding. Only when you remove the covering will you see the new me,” he smiles.
