Abhijith Mahesh’s directorial debut, Bachelor Party, is a comedy drama produced by Rakshit Shetty’s Paramvah Studios. The film stars Diganth, Yogi, Achyuth Kumar, and Siri Ravi Kumar in prominent roles. What is particularly enticing about this film is that eighty per cent of it was shot in Thailand, in locations that were not seen in Kannada films before. Ahead of the film’s release on Jan 26, cinematographer Aravind Kashyap, and music composer Arjun Ramu, share insights into their creative process for Bachelor Party.
In a comedy film, cinematography often takes a backseat. However, according to Aravind Kashyap, it was not the case with Bachelor Party. Aravind’s last films, Kantara is set in the forest locales while Hostel Hudugaru was predominantly shot indoors. On the other hand, Bachelor Party enabled Aravind to explore vibrant destinations like Thailand. “After a couple of films mostly set in the dark, inside forests, and night shoots, this came as a breather where I could capture the film in daylight,” says the cinematographer. Contrary to popular portrayals of an exotic location like Thailand, Bachelor Party had an entirely different approach, reveals Aravind Kashyap. “We scouted offbeat places, showcasing a Thailand beyond the typical party scene. The film features extensive travel, unveiling parts of Thailand never seen in Kannada cinema. Even I was surprised by the undiscovered locations in Thailand,” he says.
“The cinematography in Bachelor Party diverges significantly from Hostel Hudugaru, Kantara, and Charlie, experimenting with visual humour. This new approach was liberating,” he explains. However, he says the film also retains an emphasis on grand cinematic visuals.
Talking about the performances in the film, Aravind says “Great comedy requires excellent performances, and that came naturally to our stars Diganth, Yogi, and Achyuth Kumar. Our task was to capture their best moments,” he says. “Travelling across Thailand for the shoot was hectic, given the limitations shooting abroad entails. With a restricted crew size and resources, despite our preparations and a prior recce, we had to maximize our efforts,” he notes, and adds, “Technical constraints were a challenge too. While Thailand typically constitutes about 20 percent in Indian films, here it is nearly half the movie. So, even with limited resources, we didn’t compromise.”
Aravind then goes on to talk about working with director Abhijit, “Working with Abhijit was seamless as he had devoted ample time to the script. He excels in writing punch lines,” Aravind concludes.
Scoring for comedy films is all about precision and timing: Arjun Ramu Composer Arjun Ramu, known for his work in films like Huliraya, Nanna Prakara, Demo Piece, and the Telugu flick Chaitanyam, marks his fifth venture as a music director with Bachelor Party. This Rakshit Shetty project is his inaugural foray into comedy and a complete commercial venture. “Each time I delve into a new genre, it offers a fresh experience,” he adds, recalling how Rakshit Shetty’s production came across his work in Huliraya and mentioning discussions with Abijith Mahesh, his engineering college mate, which sparked the idea for this collaboration.
Sharing his experience, Arjun mentions how Abhijit had a specific tune in mind for the project. He feels the director, who served as a writer in Kirik Party and Avane Srimannarayana, is skilled in infusing scripts with a playful essence. “Having been with him throughout the process, I gained a clear understanding of the director’s musical expectations,” he explains.
Bachelor Party features four songs: three peppy tracks and a romantic melody. “The team has already unveiled the Party song, showcasing Yogi’s fervor for parties. Another song delves into the frustrations of Satnu, an IT engineer, and his wife. Also, there’s a montage song set in Bangkok and a love song in the album,” he says.
“Understanding the script is crucial, especially in a comedy film, where lyrics should synchronise seamlessly with comedic timing,” Arjun emphasises. “Crafting lively and fitting lyrics tailored to each character and situation uplifts the narrative. The background score, treated visually as part of the comical journey, will possess a distinct sound. Both the visual and auditory elements need to be built from scratch for comedy capers.”
“Scoring for comedy films revolves around precision, timing, emphasising and enhancing comedic moments without overshadowing scenes,” he points out. “In musical comedy scores, the music isn’t meant to overshadow the scenes but rather complement them. When a scene gains 30 percent from music, the audience subconsciously connects better with the characters, creating a stronger emotional link. In fact, I have used Chinese plugged instruments and harps to enhance the comedy score and create music for a few roles in the film.”