Balachandra Menon is part of Malayali’s collective nostalgia. Anybody who grew up in the 80s would have been fed on a diet of ‘family movies’ scripted, and directed by him. Menon, who started his film career at 22, has also been a lyricist, singer, composer, editor, producer, and distributor, something akin to Woody Allen in Hollywood. He has never had a godfather in the industry and that is something he has always been proud of. At 68, Menon is still brimming with energy and passion. He talks to TNIE about his life, career and plans in an interaction. Excerpts:
There was a time in the Malayalam film industry when ‘story, script, dialogue and direction’ by Balachandra Menon was an often seen screen credit. What drove you, movie after movie?
Story, script, dialogue and direction. My passion for cinema is that. It was part of my system. People ask me how do you do it. I’ll say without that I couldn’t exist. I’m balancing the whole weight of a film on my shoulders. I’m keeping the balance because all these things are there. If one of these things is not there, my system is affected. So, people may think it’s a big job, but according to me, it’s like breathing air.
You were much ahead of your time... in fashion, the kind of movies you made. Can you say that you were the ‘new gen’ of the 1980s?
Well, yes. But none of those were done deliberately. That was the only way I could make movies. Since you asked me, my second film ‘Radha Enna Penkutti,’ though it was a family theme, had a completely different theme… the heroine in the movie rents out two rooms in a house to two bachelors. That was never heard of in those times. Now, the concept is called ‘homestay’. In 1979, we experimented with the concept. What I’m saying is these were not done just to make it new. They just happened.
How did you come to the film industry?
I became a director at the age of 22. I was never an assistant to anyone. I never sounded a clapboard. I was looking through the camera on the set. I told my cameraman that I wanted to look through the camera. He asked me what’s your comment. I said I only see a square. I said I need to restrict everything to that square. That’s it. There’s no miracle in the camera. Our mind should be the camera.
You were known for producing ‘family-oriented’ films…
I would say that’s the only way I could produce a movie. Even if I make a James Bond film, James Bond’s every single fight will be either for his mother or his father. I am like that… What I’m trying to say is cinema has a big influence on people. We need to be very careful about the things we need to say through this medium. When I started making films, my thought process was “the films I make should be seen by my mother and father.”
So, it was a conscious decision?
If you ask me if I could make films in other genres, I will say I can. But the bigger question is whether you want to do it or not. By branding me as a “family filmmaker,” the journalists have tried to put me in that bracket. But if you ask me if I could make films in other genres, I ask you to analyse all my films starting from Uthrada Rathri. If you ignore the ‘family label’ that was imposed on me, everything was different in each film...content, story, everything. I haven’t repeated any theme or storyline. I will never do it. If Uthrada Rathri tells the story of a person infected with hypochondriac syndrome, the second movie Radha Enna Penkutti is about a ‘damsel in distress’. Third film is Kalika, a mantrik novel (sorcery); fourth is Ishtamanu Pakshe, the concept of a husband in a girl’s mind, and the next film Aniyatha Valakal is set in medical college background. So, I don’t agree with critics putting me in the ‘family filmmaker’ bracket.
You introduced a large number of heroines to the Malayalam film industry. How did that come about? How did you pick these talented actors?
Again my answer is it just happened. I would say it was written in their horoscope that they would act in Balachandra Menon’s film and that they would become much sought-after actresses.
But how did you select them? Was there a casting call?
As far as selection process is considered, once a would-be actor gets my attention, I would study them, and do my own analysis, without them knowing. For instance, during the shooting of Oru Painkilikadha, there was a scene where a party is thrown in the house of Madhu sir (actor Madhu). At that party, a girl is dancing and we needed some families to watch the dance performance. Eleven families were selected. During the lunch break, a girl caught my eye. She was interacting with the dancer girl,
and that girl was Karthika (who made her debut through Oru Painkilikadha in 1984). So, it’s my sixth sense that is at work.
You never repeated any of your heroines…
I’ll tell you the reason. When they first come into the industry, they are coming as a novice, full of curiosity. They will behave properly and go. The day the film is released, they become celebrities, and the people and society around them make them dirty. They will pamper and spoil them. With that attitude when they come before the creator again, it will be difficult to work with. But I
have repeated two actors, one is Karthika. Because she asked me for a role as she wanted to end her film career. Another actor who I repeated is Parvathy, through Kuruppinte Kanakku Pusthakam. That’s another story. It is because of Kuruppinte Kanakku Pusthakam that Jayaram married Parvathy.
What’s the story there?
Actually, the initial plan was a love story and another heroine was finalised. But she fell ill and the shooting could not be postponed due to commercial reasons. So, we changed the subject of the movie altogether. When we checked who would be available for shooting, we were told that Parvathy was free at that time. Then someone told me that Jayaram was in love with Parvathy and that if Parvathy is there, Jayaram would be very keen. Then I called Jayaram too. After the film got over, Jayaram told me, ‘sir, there’s good news. I’m marrying Parvathy’. (chuckles).
After ruling the film field in the 1980s, you kept away in the 1990s. What happened?
That is inevitable. You have to expect that. When a person is doing the same thing over and over again, you can imagine there will be repetition. You will feel like taking a break. It’s like charging your battery. I was never in the rat race, and I never followed the usual pattern. In my first film Uthrada Rathri in 1978, I brought in a lot of new faces. That was a time when somebody could never imagine a film without Prem Nazir and Adoor Bhasi. So, I don’t follow the usual pattern. I do what I feel is right.
What did you do in between?
I was not sitting idle. I wrote 14 books in the period. Adoor Gopalakrishnan has praised my book Ithiri Neram Othiri Karyam’, saying it is one of the finest books on filmmaking. I also ventured into farming. That was my ‘madness’. Now I am completely involved with my YouTube channel Filmi Fridays. The response I get is mind-blowing. I still believe I have more things to say. If your life is restricted only to films, it will become boring.
You watch new films?
I don’t watch many movies. Even my films, I watch only once, in theatre. After that, I won’t watch it. The thing called creation, the moment you have finished creating something, you move on.
What next?
Now, I’m seriously planning to start a digital training course for students. And I’m the best person for that. In the film Samantharangal, I handled 10 departments — story, screenplay, dialogue, direction, acting, editing, music, re-recording, production and distribution. I’m the only Indian to get a national award doing all this (Menon won the national award for best actor in the film, released in 1998). You can share time with me, and get prepared for filmmaking.
Are you noticing the films that come out these days? What’s your opinion?
Of course, I notice the films that come out now. But, I don’t want to give a critical view. Each person is entitled to make a film based on his/her convictions, and themes. Each person has their own views. The times have changed. Now you have the opportunity to master the art of cinema. The new-generation people are getting good exposure. When I started my career, I was able to see the shot taken after two months when the rushes are ready. This generation is lucky. They are able to watch the shots on the spot. The new generation is technically smart as they are getting good exposure.
The new generation is getting good exposure and they have a technical advantage. But some say new movies lack quality. What do you think?
The filmmaker should be able to leave a stamp of distinction in his movies. Graphics are eyewash. The movie is not about graphics, noise and technics. It should have substance and the signature of the director.
Your movie Samantharangal was a class apart. How did that happen?
The transition happens within. I didn’t make Samantharangal hoping to get an award. Railways influenced my life as my father was a railway station master. I wanted to make a movie with railways as the subject.
You have directed many legends like Prem Nazir, Shivaji Ganeshan, Shammi Kapoor, and Rohini Hatangadi. What was the experience working with them?
I was comfortable with all of them. But I am a strict director. Then producers and directors had prominence in filmmaking. Now the format has changed. Now stardom rules and the producer has no role. As an actor, I give respect to the director.
There was criticism about the cinematography of the song ‘Ezhu Swarangalum...’ in the movie ‘Chiriyo Chiri’. You have not reacted to it.
I agree with the criticism. I had apologised to music director Ravindran for that. I am responsible for it and I have my justification.
Which movie did you like among recent releases?
Madhuram starring Joju George is one of the recent movies that I liked.
Are you of the opinion that the OTT platform drains the beauty of a movie?
I hate watching movies at home. Movies have to be watched in theatres. You will not get the same involvement when you watch movies on mobile phones. The ambience is different. You will not be able to enjoy the movie. Stars are born in theatres not on mobile phones.
You have developed a style with a unique headband, a modulated voice and a sarcastic smile. Was it a conscious act?
Either I am underestimated or I am wrongly presented. For the character in Karyam Nissaram I had ordered a wig which was not delivered on time. Prem Nazir sir was waiting. The location was an automobile workshop. At that time one person was working under a car and he had tied a handkerchief on his forehead. It was Nazir sir who suggested me to wear a headband like that and it clicked. In local parleys it is referred to as a rowdy band, but I made it acceptable to families.
Malayalam cinema has undergone a drastic change during the past 10 years…
I appreciate present-day movies because the filmmakers get good exposure and they are technically well equipped. They are lucky, they can do wonders and I have confidence in them. My only request to them is that they should have some social obligation also.
Your movies have been very patriarchal. No woman character had a career or a dream of her own.
My characters are based on people I encountered in my life. I have not seen any working women in my family. I love and respect women. I have never picturised any actor in a vulgar way. I am someone who believes that even a strong woman like Indira Gandhi would need a shoulder to lean on.
You were elected chairman of the students union at Thiruvananthapuram University College. You were also approached by political parties to contest from the Thiruvananthapuram Lok Sabha constituency. Do you still have political leanings?
I had enough politics during my college days. I have received invitations from both Congress and BJP. But I did not agree as my life would have been ruined had I decided to contest. I couldn’t have held on to politics for long. I am still enjoying the privileges that the politicians are getting. Why should I spend my life in politics?
You were one of the founding members of AMMA. Are you still an active member?
The intention was to set up a union for the actors. I’m not here to judge whether it is working as per the plan or not. I have so many other things to focus on. I only go for the general body meetings.
Do you think that the Women In Cinema Collective was formed because AMMA failed to address their concerns?
WCC may be a corrective force. I am not against it. If we oppose such a move, it’s a fascist attitude.
Is there a particular filmmaker who has influenced you?
It is K S Sethumadhavan. It is because of his Vazhve Mayam, I decided to make April 18. There is one scene in that movie that mainly inspired me to do a movie.
Looking back, how do you see your life in the film industry?
I didn’t hurt anyone in the industry. I have done business, but not a single cheque that I issued has bounced. I was not involved in any criminal cases. I never had a godfather. I am a loner in the industry.
Your last two movies, Njan Samvidhanam Cheyyum and Ennalum Sarath, did not do well. Have you analysed the reasons?
They were not commercially successful. But I believe they were good movies. I wanted to become a director and I became the director of my choice. I don’t have any regrets.