From his initial days as a Tamil film director, K Bhagyaraj has been open to experimental films within commercial limits. Most of his films during the 80s—such as Mundhanai Mudichu, Dhavani Kanavugal and Idhu Namma Aalu—did extremely well at the box-office
. They had novel plots and engaging narrative. He never allowed himself to get stuck in a specific genre. Then, slowly people discovered the actor in him and direction took a backseat.
Thirty-six years ago he played a negative role in Vidiyum Varai Kaathiru. Now, he’s back doing what he does best—playing a character with grey shades in Mysskin’s Thupparivaalan alongside Vishal.
“It’s not that I love playing a baddie. Somehow, everything fell into place and I found the script interesting. I liked the character. I worked to keep it subtle. What I play in the film isn’t a typical villain, but a scientist, who’s an opportunist. I didn’t want to play the usual antagonist,” he says.
He trained himself to do varied roles to get along with the present generation of actors. “Life isn’t easy. An actor is only a part of the film. He’s moulded by the director. I chip in with suggestions only when asked. As an actor, I want to be part of fresh thoughts and processes,” he smiles.
He credits ‘experience’ for chiselling him as an actor. “I was fortunate to work with talented artists and technicians for whatever I am today. As a director, made films on village subjects, love stories, and with family-based elements. Looking back, I feel proud. I don’t have the greed for acting. Whenever something excites me, I take it up.”
Direction is Bhagyaraj’s first love. “There’s a sense of satisfaction and contentment in it. I have always wanted to make successful films. Whatever I tried to portray through films was the reflection of what I have learnt,” he says.
Will he go back to directing? “I am working on a script. A film has to be commercially successful to prove that people have accepted it. I am still a commercial director,” says Bhagyaraj.
For him, there is no fixed formula for success and an actor has to deliver what the audience wants. “Screenplay is important any day. It’s not about writing the narrative, but understanding the visual potential of the story. Every shot is important in a movie, and a director should have the capacity to analyse whether the scene will reach the audience. The only way to succeed in this industry is by giving
100 per cent.”
On getting stereotyped because of the choice of roles, he explains, “I am not afraid of getting stereotyped. People will watch what they want. They don’t bother whether an actor is stereotyped or not.”