Folklore-meets-Shakespeare is one intriguing premise for any filmmaker, but then Jayaraj is not someone to settle for a mere costume drama. Trans-locating Macbeth to the valiant milieu of vadkkan pattu, his third adaptation of the bard seems like a well-knit tapestry of both the narratives. “I have tried not to violate the authenticity of both the texts. But there are stylistic nuances giving it a creative edge,” says the director.
Spun with trust, betrayal and tragedy there are startling similarities between Macbeth and vadakkan pattu that you are totally amused when he points it out. “Both are consumed by the fatal flaw of ambition. If Macbeth wants the throne, Chandu wants to be the lord of all 18 kalaries. And all the characters in the play including the witches and Banquo find their substitutes in vadakkan pattu. It’s Aringodar’s niece Kuttimani who steps into the shoes of ruthless Lady Macbeth and it’s she who forces him to bribe the bladesmith,” he says.
Staying true to the ballad, Veeram also explores Chandu’s unrequited love for Unniyarcha and the bitterness it fills him with. “That’s perhaps an addition to the play,” he agrees. Instead of the three witches and their prophecies Jayaraj creates an air of ‘abhicharam’, a virgin possessed by spirits making predictions. “It’s something straight out of Kerala’s cultural fabric,” he adds.
Jayaraj says it was Kurosawa’s Throne of Blood, another adaptation of Macbeth, that sparked off a fire in him. “While he has employed samurais, Veeram has chekavars,” he says. From Kurosawa and Polanski to Vishal Bhardwaj, many master craftsmen have attempted Macbeth and Jayaraj says the real challenge was to make Veeram different without losing its essence. “I enjoyed moving beyond their interpretations yet retaining its soul,” he says.
With a slew of Hollywood technicians on board the film has a colossal canvas and budget.
“The story and the era it’s placed call for great technical expertise, especially when you plan it for a global audience. But unlike usual films seventy five percent of the total investment has gone to the technical team. Normally it’s stars who claim the lion’s share in many projects,” he says
Shot in English, Hindi and Malayalam the trilingual has some new faces in its cast while Bollywood star Kunal Kapoor essays the role of infamous Chandu Chekavar. “I wanted actors who look like trained warriors, the sword-brandishing chekavars. Physique and flexibility were two areas I couldn’t compromise,” he says. While Shivajith Nambiar appears as Aromal Ckekavar, Devina Thakur and Himarsha Venkatsam play Kuttimani and Unniyarcha respectively.
Jayaraj says it was five years of dedicated research that resulted in Veeram. “The dialogues and the slang were decided after scouring through historic manuscripts and discussing with historians. Then an entire story-board was prepared much in advance,” he says. Setting Veeram against the unfamiliar terrain of Ajanta and Ellora and slightly amending the dress code were the main creative liberties he took. “So there is no profusion of sparkling yellow metal and silks. We have tried to bring in an element of primitive finesse with silver and black metal. What we wanted was the toughness and grace of Namboothiri’s illustrations. They may not be realistic, but are a class apart,” he says. Veeram is expected to hit the screens by October-November.