Narration of serious subjects in the simplest manner and the simplest stories in the most exceptional way – that is Sathyan Anthikkad’s USP. Today the veteran returns to the marquee for his annual outing with Ennum Eppozhum , a film starring Mohanlal and Manju Warrier in the lead.
Ennum Eppozhum is yet another film, in fact a slice of life, which the master storyteller has bookmarked from a series of events in contemporary Kerala. Scripted by Ranjan Pramod, who had written the blockbuster Achuvinte Amma and Manassinakkare, Ennum Eppozhum , based on a story by Ravindhran, tails Vineeth N. Pillai, a jaded scribe assigned to interview Deepa, a young lawyer who is the news for her determination to take on the authorities.
Mohanlal essays the laidback Vineeth while Manju plays the non-nonsense Deepa.
“Ever since I went for Manju’s arangetram, there were rumours that I was planning to cast her in my film. But I waited till there was a character that only Manju could do and Deepa is such a woman – bold, intelligent and living life on her terms,” says Sathyan.
Like many of Sathyan’s films, the women in this flick too are no pushovers. “It is their story and not Vineeth’s alone. This movie, like all my stories, touches upon social issues, the fragile nature of relationships today and how many women are forced to assume multiple roles to survive in a competitive world. So if Reenu Mathews plays Kalyani, the managing editor of the women’s magazine Vineeth works for, Lena’s role of Farah is again that of a woman with a mind of her own,” explains the director.
Innocent, Ranji Panicker and Jacob Gregory enact important roles in the film produced by Antony Perumbavoor under the banner of Aashirvad Cinemas. Vidyasagar scores lyrics written by Rafeeq Ahamed. “The music and each of the characters in my film have a definite place in the narrative; nothing has been pushed into the story for added effect. Ennum Eppozhum is the kind of film that I enjoy making,” he adds.
Sathyan’s hallmark is humour, which he infuses into his movies and his characters in the right dose. In the place of extravagance in his storytelling or his filming, Sathyan shapes his characters in robust pragmatic moulds; they are emotional but never melodramatic.
“My characters are all around us. My story can be found in our lives and, perhaps, that is why it strikes a chord with viewers,” he believes. Indeed the teasers and trailers of the film that have gone viral have played up dialogues and scenes that remind us of his previous films that are now part of film lore of Malayalam film. Bombastic words, syrupy declarations of love, action-filled sequences and technical jugglery are conspicuously absent in a Sathyan film. Sathyan’s characters are drawn from middle class homes, their problems revolve around their homes and lives and therein lies the strength of his films.
“However, it would not be correct to say I dogmatically resist change. Change is there in the pace of the film, in the theme, in the narrative and in the technical upgrades. My cinematographer is Neil D' Cunha. For instance, while discussing the scenes, he came up with suggestions for the frames, which I might have taken in a different way a couple of years ago. So yes, in my own way, I am trying to keep pace with the audience and accommodating the changes we see around us. But we should never underestimate the viewers’ sense or sensibilities and dish out mediocre stuff and expect them to like it,” says Sathyan.
While welcoming the rush of young debutant filmmakers who enriched the scene last year, Sathyan feels that before donning the director’s cap, it is essential to study cinema very carefully. “Students in film and television institutes spent years studying direction. Cinema is an art and putting together some scenes is not cinema. One has to learn from a master, join a film institute or become an excellent observer and keen student of films. Only then should one attempt to make a film; the first clap must be given only after enough homework is done and the director is confident about his/her skills.”
He says that in the case of Ennum Eppozhum , both Ranjan and he were sure about the way each scene was planned and so time and money were spent prudently. “Moreover, both Manju and Mohanlal are consummate actors,” he says, adding: “My kind of filmmaking and storytelling cannot do justice to the tragedy queens of Malayalam cinema. At the end of the day, my heroine is the woman who is able to laugh at life and with life. Forever and always.”
Fact file
* Manju was and has always been an exceptionally good actor. But the Manju I saw in my film is someone who has gone through the crucible of life and that has enhanced her sensitivity and understanding of people and situations.
* Of the many heroines in my recent films, my favourites are strong women who refuse to be victims. As such Vanaja, played by Urvashi is my favourite. Kochutresia (Sheela in Manassinakkare and Vidyalakshmi in Katha Thudarunnu ) come close behind.
* I thought Vellimoonga and 1983 were two of the memorable flicks I saw in 2014. If a movie is good, the characters in it will remain alive even after the viewer and the movie leave the theatres.
Short takes
* Mohanlal and Manju Warrier are acting together after 17 years. They were last seen in Kanmadham and Summer in Bethlehem . They had also acted together in the blockbuster Aaraam Thampuran .
* Did someone read Sandhya in the place of Deepa? Then, yes, the incident in 2013 did seem to have inspired Ranjan to shape Deepa on those lines. Sandhya who? Well, Sandhya was the homemaker and mother who took on political activists of a party blocking a road in Thiruvananthapuram as part of a political agitation. In Ennum Eppozhum , it is a potholed road that brings on the activist in Deepa and forces her to confront the babus who are supposed to maintain our roads.
