As you enter Madhu Ambat's office at his Mahalingapuram residence in Chennai, you’ll notice the covers of two soon-to-be-published books displayed on the wall. One is titled The Death of Madhu Ambat, where he delves into surrealism, and the other, Black Moon, explores the philosophy of emotion.
The legendary cinematographer, now preparing for two of his most cherished dreams—the release of these books and the launch of his second and biggest directorial project—speaks little, but each word carries the weight and vision of his half-century of experience in film. Having worked with many iconic directors, writers, and artists, every film he crafted from behind the camera has always been ahead of its time, not only for its visual perfection but also for its content and creativity. He also has a nuanced view on every issue cinema has faced, both past and present, including the very grammar of world cinema and the movie industry's latest 'me-too' movement.
The lensman behind legendary films like Adi Sankaracharya, Amaram, Vaishali, Anjali, and many more, who has won several National and State Awards for his iconic work in over nine languages, Ambat speaks with Unni K. Chennamkulath in an exclusive interview with The New Indian Express. Edited excerpts:
Q. Cinema is a dynamic medium that continually evolves in response to changing times, trends, and topical issues. Having been active in the industry for nearly five decades, you’ve witnessed these changes firsthand—working across generations, in multiple languages, collaborating with legendary filmmakers, and exploring various subjects. Looking back, what are your thoughts on this evolution, both in yourself and in cinema?
A. Cinema has evolved in many ways—its technology, treatment, audio-visual effects, and much more. However, the core elements of creativity and emotion have remained the same. These changes have not only made filmmaking easier but also more expressive as a medium. I’m happy to have experienced these transformations firsthand and adapted to them seamlessly. Since I’ve never been part of bad cinema, either in the past or now, I believe these changes in technology and thought processes have only contributed to creating better movies.
I’m also proud to have worked in many languages with prominent directors and artists across generations. In my fifty-one-year career, starting in 1973 with a documentary by one of India’s pioneering filmmakers, Ramu Kariat, and continuing with a debutant director on my latest work (started on October 14), I’ve found that the creative culture and morale have remained largely unchanged, despite working on over 250 films. That's a great thing and a nice feeling. However, I do miss true legends like G.V. Iyer, Bharathan, and Lenin Rajendran, with whom I had the privilege of working.
Q. How do you adjust to working with young filmmakers and evolving technologies?
A. I’m young at heart and can quickly adjust to any team, whether they’re young or old. Staying updated with today’s technology and trends is crucial. I make it a point to read, no matter how busy I am, and that keeps me connected with the latest in the industry. If I miss even a day of reading, I feel outdated. Another factor that helps me connect with younger teams is that I don’t see this as just a profession—it’s my passion. The camera is like my girlfriend—one that loves me unconditionally.
Q. What unique touch do you bring to achieve that magical visual perfection in the movies you've worked on?
A. It’s all about thoroughly understanding the script and capturing the mood not only of the story and the characters but also of the entire scene, including the setting, location, environment, and season, among other elements as the script requires. For example, to shoot a scene set in a European winter, you should either have experienced it firsthand or be able to truly visualise it—the light, sky, color of the streets, buildings, and all other environmental details. And then, you strive to match that perfection with your lens, living up to the expectations of the movie, the director, and the entire subject. This is one of the reasons directors like Bharathan had such trust in me—he doesn't even look through the camera while shooting.
Fortunately, today’s technology offers several camera options to adjust light and shadows with real precision, without the need for additional attachments or arrangements, unlike in the past.
Also Read: Bharathan’s legendary movie 'Amaram' set for mega re-release
Q. Many young movie aspirants look up to veterans like you for valuable lessons to help build their careers. Are there any experiences where you feel you’ve truly made a difference to them?
A. Yes, there are many instances where aspiring filmmakers find their role models in previous generations, and there are also cases where we become excited by the freshness of ideas and creative thinking among the young. In such situations, I always suggest reading as the best tool to both enter and excel in filmmaking. I still remember a young man who used to seek my advice about pursuing his passion for movies. While my advice remained the same—to read more and more, including old classics, new themes, and authors—I was deeply moved when I later saw him at a bookstore. He told me that he couldn’t afford to buy the books, so he decided to work at the bookstore to follow my suggestion. That young man turned out to be one of the most successful writers and directors in Tamil cinema—Mysskin.
Q. The past few months in the South film industry have seen a surge of 'me-too' complaints. The Hema Committee report on the Malayalam movie industry has exposed several instances of sexual exploitation and harassment faced by women artists. What are your thoughts on such issues?
A. This is not something that exists only in the film industry; it happens in every industry and every walk of life. The only difference is that people in cinema are more well-known, which makes it more sensational. I believe it’s difficult to put an absolute end to such practices, as they have occurred in the past and will likely continue. Men will always be men, but they are not always the villains. However, in my view, sexual exploitation must stop, wherever it happens.
Also Read: Hema Committee report: This is not cinema, but shockingly real
Q. What’s the status of your next directorial venture and the books you mentioned?
A. The directorial venture is based on my own script, which is ready. Innalekal Illaththavar (The Ones Without Yesterdays) is set to be a large-scale, high-budget project. It’s an emotional fiction set against the backdrop of the India-Pakistan partition and the refugee struggle. The multi-starrer is currently in the discussion phase. As for the book, I’ve already signed a contract with a Bangalore-based publisher, and it is expected to be released in the coming months.