Every film displays hundreds of images on the big screen. Each frame is captured by cameras controlled by a handful of technicians, many of whom we meet every day — on the road, while shopping, and at restaurants. But, do we recognise them? Not really! Well, today we acknowledge one such person who has been recording images in the film industry since 1978.
With over 35 years in the industry, cinematographer CM Muthu has worked on Malayalam films like Aparanmaar Nagarathil (2001), Jagathy Jagadeesh in Town (2002), Kannamma (2005), and Kootugar (2015).
Muthu was introduced to the film world by his classmate from MCC Higher Secondary School when he was in Class 8. “His father was a film producer and my friend used to talk about movies when we were in school,” he recollects. Though watching movies in theatres was a fad back then, as a young boy, he didn’t have much money.
At that time, single film strips helped children satisfy their desire to watch movies. “They were available in petti kadais and that’s when I saw a film strip with Enga Veettu Pillai (1965), which had MGR in a double role,” he says.
Fascinated by the concept of a double role, Muthu approached his friend to learn the trick behind it, only to be given a dull answer. “‘It is a trick you won’t understand’, he told me. That instigated my ambition to become a cinematographer,” says the 55-year-old.
Taking baby steps towards achieving his dream, Muthu joined the film fraternity in 1978 as an apprentice. Remember Jaganmohini (1978) — the frightening, high-octane drama of those times with the lady clad in a white bodysuit? Muthu’s first stint as an assistant cameraman was in this movie.
“They were shooting the scene where Jaganmohini puts her legs into the fire. I didn’t know how they would show it on camera. That’s when I started learning the ‘trick’,” he says.
Muthu agrees that digital imaging and computerised graphics are a boon to the industry, but adds that they don’t give the satisfaction of shooting with film. “I never feel satisfied with digital (technology). The clarity we get from film remains unmatched,” he sighs.
Remembering the times when negatives and film rolls were given to producers as surety, he asks, “What surety do we have in (the) digital (age)? There’s a chance of footage getting corrupted or even deleted!”
After learning the nuances of camera work, he worked his way up from being an apprentice to an assistant cameraman, to becoming an independent cameraman in 2000 with the Malayalam movie Chenchayam. “As times changed, we moved from power-based cameras and macro zooms to digital cameras. From an apprentice to a cameraman, it has been a struggle, but it’s been rewarding too,” he says.
Muthu used to get `50 for assisting in a movie and a daily wage of `5 for helping with the camera. “This money kept the family going. Now, my three children have settled down and I’m glad I didn’t give up,” he smiles.
So, how different is the role of a cameraman today? Pat comes the reply. “We don’t get much respect these days. Respect doesn’t mean greeting us — it means giving us the freedom to improvise. But we need a good director for that,” he says.
But new directors are dime-a-dozen now! “Some of them don’t have camera sense,” he retorts. “Previously, directors worked with cameramen. We would get small hints from the director and improvise on the concept. But that isn’t the case now. I’m not talking about everyone, but there are some who don’t understand team work,” he shares.
Is it true that actors and technicians share jovial relationships? “Back then, actors would greet us formally, which was a good thing. They were respectful towards us. But now, actors are extremely friendly and call us ‘brother’, which is also a good thing. Nothing has changed in that aspect of the industry,” he laughs.
Talking about his milestone movies, Muthu says Jagathy Jagadeesh in Town and a British movie In the Name of God (2007) are his favourites. “Jagathy Jagadeesh is a remake of the Hindi blockbuster Bade Miyan Chote Miyan (1998). There were two actors and both had dual roles! This was my most challenging movie,” he narrates, adding that working on the film made him remember his friend from Class 8. “I finally learnt to do the ‘trick’,” he quips.
Muthu says he always wanted pictures of himself with Amitabh Bachchan and MGR. Though he never got a photo with MGR, he was happy to click a pic with Amitabh Bachchan while they were shooting for Zamaanat (1986).
With no awards, except the 488th day shield he received for working on Karagattakaran (1989), Muthu says he still hopes to receive a National Award for best direction/cinematography. “In those days, awards weren’t such a big deal. A good name among the big houses and directors is what we aspired for. Though I’m old, my imagination is still young. I’m confident I will bag the award someday,” he says.