The Chathan returns

As My Dear Kuttichathan celebrates its 40 years, TNIE revists the story of how its makers created such magic then, and their vision for its global re-release in English
The new characters — a druid and 8-year-old girl
The new characters — a druid and 8-year-old girl
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5 min read

KOCHI: The report of an English-dubbed re-release of My Dear Kuttichathan, which first featured in The New Indian Express on September 20, has once again piqued interest in the film among cinema lovers.

The fantasy classic, released in 1984, was India’s first 3D film. If this technological mastery didn’t already lure you to cinema halls back then, then the endearing story about three children who befriend a friendly goblin (Kuttichathan) and help him flee from the clutches of an evil sorcerer certainly did.

Needless to say, the film was a big hit, registering over `2.5 crore at the box office. More than these gains, the Jijo Punnoose-helmed project was a watershed moment in Malayalam cinema, with fans raving about the movie even decades later.

Earlier this month, TNIE was invited to a special, invite-only preview of My Dear Kuttichathan’s new version. This, interestingly, also coincided with the film celebrating 40 years. We spoke to Jijo Punnoose and the film’s makers to learn more about how they created magic then, and their vision for the upcoming project.

The beginnings

1980s. Malayalam cinema, which was undergoing much transformation at the time, suddenly had a new anvil Navodaya Studio in Kochi.

Its founder, Chacko Punnoose, who’s fondly called Appachan, had already carved out a space for himself in the industry, having produced hits like Manjil Virinja Pookkal. But beyond that, he was also a visionary, raring to push the boundaries of what could be possible in Malayalam cinema. Navodaya became the vortex of this ambition.

His son, Jijo, who inherited a love for the reel world, too furthered this legacy of innovation. His directorial debut, Padayottam, released in 1982, was the first indigenously shot 70mm film in India.

Basking in the success of this movie, Jijo yearned for another shot at advancing the craft of filmmaking. That’s when he chanced upon a 1974 edition of the popular magazine, American Cinematographer a gift from his longtime friend, Ramachandra Babu. In its pages, the young dreamer found what he was looking for a detailed guide on the latest marvel in the art of visual storytelling: 3D.

Ramachandra, a cinematographer with over 125 films to his name, recalls the event vividly. He recalled in an interview, “I gave the magazine to Jijo because I knew that only he could do something about it.” This belief was not misplaced. Shortly after, Jijo made the long journey to Burbank, California. His mission: master 3D.

The ‘American’ dream

Jijo’s return to Navodaya was quite an occasion. He didn’t come alone. David Schmier, the stereographer of a US film company that Jijo visited, accompanied him to help realise the dream. And together, they brought with them new gear, sample reels of 3D films and 3D glasses.

Appachan, acknowledging his son’s passion, allocated `40 lakh for the soon-to-be-named 3D project. But apprehensions hung like a dark cloud. Who would watch a 3D movie? It was therefore decided that a children’s film be made.

Jijo already had an idea in mind and it involved a small goblin (chathan). This was further fleshed out by writer Raghunath Paleri. Jijo also consulted Anant Pai, the editor of Amar Chitra Katha; writer Zacharia; cartoonist Toms (V T Thomas); and director Padmarajan to perfect the story.

Though the editorial team boasted giants, the technical team involved mostly newcomers. “It was a relatively young team. Cinematographer Ashok Kumar and editor T R Sekhar were the only seniors, but they hardly knew anything about 3D,” Jijo says. David worked closely with Ashok Kumar.

All hands aboard!

One of the sequences in the film that epitomises the mastery and marriage of storytelling and craft is when the children and their goblin friend walk on the walls during the now-famous song ‘Aalippazham perukkan… peelikkuda nivarthi...’

It was Raghunath Paleri’s idea. Though Jijo was sceptical at first regarding its technical feasibility, after much consideration, he decided to go ahead. Right off the bat, it was clear that no photography tricks could be relied on to execute this sequence.

“Then, K Shekher, the film’s art director, suggested that they create a rotating set,” Jijo recalls in his blog. “Just like in Stanley Kubrick’s film 2001: A Space Odyssey.”

Who knew? Even before Christopher Nolan’s Inception, a group of technicians from Kerala had played with gravity.

The technical support for this ambitious, never-before-done project was provided by engineer Rajendran, whose young team had designed, constructed and erected the flying trusses for the Rajiv Gandhi Indoor Stadium in Kochi.

“These professionals were more than enthusiastic to set aside their work and help us get four kids to dance on a ceiling. This was at once heartening and bewildering,” Jijo recalls.

The song sequence alone ate up one-sixth of the total 90 days of shooting. But it was well worth it.

“We faced many limitations. The role of the stereographer David was crucial to overcome them. K Sekher, who did the art, was also outstanding. No doubt, it was a thrilling experience,” Raghunath recalls.

Twist in the tale

If completing the film was complex enough, getting it screened at cinema halls proved challenging still. For theatres at the time were not equipped to screen 3D films. So the film production team had to take on the additional responsibility of swapping screens at about 20 theatres with silver-coated plastic variants to play the film. “I don’t think this would have been possible in any other state,” Jijo recalls.

He admits that ‘3D’ was “a marketing ploy which had a certain charm”. But Jijo also worked to ensure that the film had enough to stand on its own legs and not rely too much on the 3D factor.

This alone guaranteed a good result. But what finally transpired was nothing short of phenomenal.

The response

“I can still recall my first experience watching My Dear Kuttichathan. Even though I was past the typical age for such a movie, it was a thrilling experience. Also, it was my first time watching a 3D movie. The novelty of wearing 3D glasses added to the excitement,” recalls writer and journalist Baiju Chandran.

“That scene wherein a knife seemed to pop out of the screen… it’s still etched in my mind,” he adds.

Film critic G P Ramachandran even remembers the theatre he watched the film.

“It was at Apsara Theatre in Kozhikode. The experience was unique, especially with the 3D glasses. Navodaya Studio took on quite a challenge with this project, but look at the result!” he says.

Chathan 2.0

The new version, titled Chota Chetan, promises to retain the charm of the original whilst also appealing to a new, international audience.

“There are some interesting changes, including the introduction of new characters and a captivating opening sequence set in Salisbury Highlands, England,” Jijo tells TNIE. The new characters include a druid, an eight-year-old girl and her Indian-origin grandmother.

The updated version also boasts an impressive team, including music by Lydian Nadhaswaram, sound design by Renganaath Ravee and dialogues by Sherylene Rafique. Lillys Thaddeus lends her voice to the titular character, Chota Chetan.

The worldwide release of the film is backed by Navodaya Studio.

The kids… where are they now?

According to the crew, the kids have now grown apart. Master Aravind, who played Kuttichathan, is now a lawyer at the High Court of Kerala. Master Suresh, the elder of two brothers, became a hitmaker in Telugu cinema but passed away last year. The younger boy, Master Suresh, is leading a spiritual life. Sonia, the girl who played the character Lakshmi, is continuing her acting career.

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