The stormy filmmaker of Kollywood is back after a five-year sabbatical. Velu Prabhakaran’s latest Oru Iyakkunarin Kadhal Diary set for a May 26 release has, like his other films, generated much buzz. After the running battle of three years to have his last film, Kadhal Arangam, see the light of day, the director said things were relatively smooth this time. In a free-wheeling interview, the director clarifies many issues: the refusal of actresses to be part of his movies, the media which he says does not see his perspective, and the controversy his films generate:
Despite all the trouble with your last film, you have gone ahead and made an erotic thriller.
I have been travelling with this script for almost five years. When all the big names refused to play the lead character, I had to settle for a lesser name. In desperation, I approached sex workers, who also turned it down. They were not even willing to hear the script, such being the damage of my last movie.
The media bashed your last film as simply being perverted.
You will be surprised to know that the movie did wonderful business. I was done in by the producer, who took up the release rights. It took five years for me to tide over the crisis. I was determined that no force could stop me from making Oru Iyakkunarin... This film is motivated by the increasing crimes against women. Statistics reveal that 80 per cent of all crimes are against women. Mornings turn into a nightmare as you read newspaper stories emerge on rapes, acid thrown at women... Through my films, I try to say that there is lust in each love. I advise young lovers to have a taste of sex to get to know each other better.
Why be as explicit in your portrayal of lovemaking, when you can shoot it aesthetically?
As a filmmaker, I don’t like to leave anything to the imagination of the viewer. I have to meet the audience’s expectation too, however small that number may be. If I show a candle burning intensely or a flicker of a candle to show in a symbolic way of what two lovers are up to, it will seem like the sort of scene in a K Balalchander film. When the audience gets so much sickle-wielding and gun-toting, I’m sure there is space for my films.
In this film, I am saying that sex education in schools could well be a first step in reducing the quantum of rapes. Media may have a role to highlight those, but the solution is to create better youth. How else can you explain an eight-year old boy raping a two-year girl? In an alarming situation, the next generation of youth has to be told that a woman’s body isn’t something to go chasing after.
On a personal note, do you think that legalising prostitution could be a solution?
In India, there are red light areas in Mumbai and Kolkata but Chennai does not have one. To give you an analogy, robbers break open closed doors, and don’t target the open ones. With a surging population, it may not be easy but an effort has to be made. As a filmmaker, I have a responsibility to send across the messages.
With the success of a film depending so largely on the family audiences, are you worried about the adult certificate your film has begotten?
Sure, but you forget the repeat audience angle. The truth is that an average movie buff has been able to connect to my stories.
If he is simply looking for titillation, there are enough channels in social media that cater to his need. I know the meaning of success, having experienced it in films like Nalaiya Manithan, Asuran and Puratchikaran.
In a recent interview, you clarified over some issues you had with Rajinikanth.
During the release of Kadavul in 1998, the actor’s comments had a debilitating effect on the run of my film. All he said was that a movie depicting the ideology of Periyar was not necessary in this era. It had a big effect on his fans much like his statement which toppled a reigning government.
I did not take this lying down and this led to a sharp exchange of words. Though it died down after a month, it left a bitter taste in the film circles. As a senior artiste, Rajinikanth ought to have understood the plight of a filmmaker struggling to get his film running. I still reiterate that Rajinikanth is one of the better human beings in the industry, and not simply for the fact that he gave me Rs 5 lakh to a subsequent movie of mine. There are no bitter feelings. Life has to move on.