Dhoomam, directed by Pawan Kumar, is set to release after a long and arduous journey. The genesis of this project, which was earlier titled C10H14N2, centred around cigarettes and nicotine, dates back to 2015. It was conceived by the director way before his last feature film, U-Turn. Pawan’s unwavering determination led him to meet 35 artists from various industries, tirelessly approach production houses and studios, and rewrite the script 15 times.
Finally, his patience has paid off as he brings Dhoomam to the silver screen, with Fahadh Faasil headlining the project. The film is bankrolled by Vijay Kiragandur under the Hombale Films banner, which gained fame for producing the KGF franchise and Kantara.
Reflecting on his journey with this project, Pawan shares, “The idea of exploring nicotine came to me long before my directorial debut, Lifeu Ishtene. I even finalised the script prior to U-Turn, but it did not take off at that time. I have finally managed to pull it off now in 2023. I feel that the film has grown with me and the script I conceived is perfectly justified.”
He adds that with his limited life experiences and filmmaking knowledge, he had then, he wouldn’t have been able to bring the film to life the way it is now.
“My ability to handle the performances has significantly improved over time. The delay in a way paved the way for the right cast and a reputable production house to join the project. I realised that good things take time. Despite facing rejections from various actors and production companies, I always had faith in the content and I am glad that I held onto it.”
When asked about the reason for the rejections in the past, Pawan states, “Dhoomam is not a conventional subject that falls under a popular genre. Films like Lucia or U-Turn materialised because of newcomers and crowdfunding. The risk was minimal and it was shared among everyone. However, Dhoomam required a higher budget, and market research indicated that certain types of films receive a certain amount of funding. When I approached established stars, they felt that their fans wouldn’t accept this subject. They were concerned about maintaining their image and adhering to the rules they had set for themselves. This sentiment is especially prevalent in the Kannada film industry, where actors are more inclined towards familiarity rather than exploring new experiences,” says Pawan.
He reveals that at one point, he even considered playing the lead role himself, especially after acting in Gaalipata 2. The filmmaker had even begun preparations for the role. However, the plans changed due to the COVID-19 pandemic. “I am comfortable with directing and my theatre experience helps me while acting. However, when it comes to directing and acting in a film simultaneously, I tend to have mental blocks and excessively criticise my own process. Hence, I ruled out the possibility of acting in Dhoomam,” he explains.
Pawan shares that the entry of Fahadh changed everything for the project, “Fahadh doesn’t have any inhibitions like other stars. He doesn’t label himself as a superstar, nor does he have any epithets attached to his name. He is an actor who simply enjoys the art of acting without carrying the burden of fan clubs. A film like Dhoomam suits him perfectly, as his audience always expects something unique from him. It has worked exceptionally well. The quirkier the role, the more excited Fahadh gets to pull it off.”
When asked how Pawan arrived at Fahadh for the role, he credits Hombale for suggesting his name. “Hombale Films, was planning to expand into other industries, and they believed Fahadh could pull off the role,” he shares, and goes on to narrate their first interaction, "After Fahad watched U-Turn, I received an SMS from him and the message read, ‘Hello, I’m Fahad, an actor from the Malayalam industry, and I loved your work.’ That’s Fahad for you. I had previously emailed him a couple of scripts, and we stayed in touch. So, when Hombale approached him, he could connect with me easier and we decided to collaborate.”
Though Pawan’s previous films, Lucia and U-Turn, garnered critical acclaim and widespread appreciation, the journey to Dhoomam is quite unique. This time around Pawan has made the script first in Malayalam. “In my earlier films, I was also involved as a producer. Alongside the creative work, I had to also overview the finances. However, with Hombale Productions stepping in, the major responsibility was taken off my shoulders, allowing me to solely focus on the creative part. I am so accustomed to budgetary constraints, but my technicians would often remind me not to limit myself and to think big. At that point, I realized that I am no longer in the middle zone, and I can bring whatever I have written in the script to life on the screen,” he chuckles.
Furthermore, having made U-Turn in Tamil and Telugu, Pawan has already learned how to handle filmmaking in different languages. For Dhoomam, he hired two assistants proficient in Kannada, English, and Malayalam. Most of the communication with the actors happened in English. Interestingly, all the Malayalam actors understood Pawan when he communicated with them in Kannada, making the process smoother for him. Pawan confidently states, “Today, I can direct a film in French, Korean, or any foreign language. I have realised that directing is not about knowing the language, but rather about understanding the pulse of actors’ performance and drawing the best from them.”
Each of Pawan’s films belongs to a distinct genre and carries a unique style. He calls Dhoomam an equal mix of drama and thriller. “I enjoy creating the moments, the conversations and performances with heightened emotions. I don’t want the audience to call it a ‘technically amazing’ film. I’d rather want them to feel that the drama in my scenes was gripping and relatable. Additionally, I had amazing actors. Even the supporting actors were exceptional in Dhoomam.”
When asked to provide an overview of the story, Pawan replies, “It’s more enjoyable to watch my film without knowing anything beforehand. However, the trailer shows an aspirational protagonist who gets entangled in something that ultimately hurts him. That’s the basic premise,” says Pawan, who enjoys delving into unconventional and thought-provoking concepts with his films.
“I approach films with a realistic perspective, focusing on the characters and how they find themselves in situations. Everything in Dhoomam relates to you and me, but there are ample cinematic moments that add flavour to the unfolding of the events in the story,” he explains.
Apart from Fahadh Faasil and Roshan Mathew, Dhoomam also stars Aparna Balamurali, Achyuth Kumar, Joy Mathew, Anu Mohan, and Mable Thomas. It has cinematography by Preetha Jayaraman.
Pawan feels that the music by Poorna Chandra Tejaswi has enhanced his storytelling. “Poorna has a perfect sync with my stories as we have been travelling together since 2015. In fact, he had tuned the title track for Dhoomam back then, and we just made the changes to it now. He knows all the rewrites my scripts go through. But he gave Dhoomam a fresh approach when we started the project. His music has given a new layer to my film and has elevated all the performances.”
Sharing his fondest memory from the set, Pawan says, “My favourite moment in the film is a scene with Fahadh and Roshan Mathew. After providing them with the script, we were getting ready to shoot. While we were preparing, they appeared normal, but during the take, they performed so well that I didn’t need to direct them much. What they did without my guidance was remarkable, and I can’t take full credit for it. Whenever I watch that scene, I feel happy about what they have pulled off,” he reveals.
The film is being released in Malayalam and Kannada this week, with plans for release in other languages later on. Does he think it will have a broad reach? “We hope the film resonates with all audience. My proposal has been made and I am waiting for the audience to accept it in the theatres,” he says.
Pawan quickly clarifies that he didn’t approach Dhoomam as a well-structured social film. “I made it from my personal perspective, considering the significant events happening around us. I explored my own questions, and that became the driving force behind Dhoomam,” he says.
As a director, who has his own fan following, how does he position Dhoomam to stand apart from his previous works? “I always aim to improve from my previous films and have been honest in my attempts with each subject. I strive to connect with my audience through my narrative and visuals, and finally convey a message. That’s why I make films. It’s a two-hour cinematic experience where the core message doesn’t get lost. Even if you remove tobacco from the subject, the film would still be engaging and offer a unique viewing experience.” he says.