Music composer Jakes Bejoy’s creativity and artistry are the product of his experiences. From working in the audio team of The Walt Disney Company to being an integral part of the album song era in Kerala during the early 2000s, Jakes strengthened his foundation before finding his way to Malayalam cinema in 2014. While he has done a variety of films, there is no hiding his affinity towards the thriller genre.
With every passing film, Jakes seems to have fine-tuned his mastery to push the viewers to the edge of their seats. Over time, this ability has refined, starting with his debut crime thriller Dhuruvangal Pathinaaru (2016) to Ayyappanum Koshiyum (2019) and his recent runaway success, Por Thozhil. With the Ashok Selvan-starrer setting the cash registers ringing in not just Tamil Nadu but in Kerala too, we reach out to Jakes Bejoy to talk about the response to his music that has found him a following in multiple states, his affinity to thrillers, and more.
Excerpts:
From the echoes Por Thozhil has been creating, it is clear that the film will be one of the talking points of the year. How has the journey been with the film?
You toil your fingers to the bone, and finally, the results are there for all to see. That is a beautiful feeling, especially when it gets appreciated in the theatres. I’ve had my share of heartbreaks when my films didn’t really hit the mark in the theatres. With Por Thozhil, there is a sense of contentment. It is testimony that if you approach a craft with sheer perseverance, homework, and discipline, success is just around the corner. Also, I credit a lot of it to the vision of Vignesh Raja (director).
Why was there a delay in Por Thozhil making the transition from script to screen?
Por Thozhil has a script that dates back to either 2015 or 2016. Vignesh attempted to pitch the story to numerous individuals, but unfortunately, none of them worked out. However, during the pandemic, as we were all connected in the industry, the script eventually made its way to me. We music directors have the privilege of receiving scripts in their early stages. If a director is still looking for a producer, we can assist by connecting them with someone. I was fortunate to come across this fantastic script and recommended Vignesh to producer Saru Chettan (CV Sarathi, E4 Entertainments), who took it up.
Is it a conscious decision to gravitate towards thrillers?
I am fond of thrillers and have had most of my successful films in this genre. However, I have also worked on feel-good films. I did not necessarily plan to have a filmography filled with thrillers, and it just happened that way. It is similar to how a music director has their area of expertise, and people tend to seek them out for that particular style.
I used to go with the flow and not plan anything, but now I realise the importance of shaping my path. In the past, I would do anything that came my way, but now I can decline subjects that don’t interest me or cause me stress. Previously, I would force myself to take up projects I didn’t like for the sake of opportunity. Since I entered the industry without support, I knew I had to get my name out there and associate with more people to increase my chances of landing more films. This is still true today, as the industry is unpredictable. You’re only as good as your last film.
Nowadays, creators are catering to a more discerning and perceptive audience. How do you handle this challenge?
Art and creativity are subjective experiences. Each person has their own unique perspective and way of conceptualising things. Therefore, another person may conceive and deliver music differently than I do. I understand that it is impossible to please everyone. Ultimately, I aim to fulfil the director’s vision and create something that satisfies my creative instincts.
So you think that grabbing the audience’s attention has become a compulsion... say by Instagram reels or the like?
Absolutely! One has to consider every aspect, like creating reel content, exploring all the other possibilities of marketing a film with its musical elements, and figuring out what to do. It is just like placing a hoarding in the middle of the city. You have to find ways to entice the audience. It is always a hustle. And it is indispensable that the songs and the music have to work for a commercial film. The pre-release buzz of a film is dependent on marketing, and music plays a significant role.
But you have also composed a fair share of not-so-commercially viable films... like a Puzhu or a Salute...
Puzhu is a beautiful subject. I thoroughly enjoyed its composing process. I appreciate films that showcase artistic expression in their entirety, making my taste quite avant-garde. I enjoy making all kinds of music. My personal taste would be to watch classics that are not-so- commercially appealing. As a musician, the value of our art is only recognised when it is received and appreciated by the audience. Despite this, I do have a guilty pleasure in enjoying films like Puzhu, Salute, and Iratta. These movies stay true to their core. It is honest storytelling. However, my current focus is on commercial films, which require a different mindset. To capture the audience’s attention, I need to include elements that may be outside my personal preference. There is an apparent dichotomy between personal tastes and professional tastes.
Where do you put Por Thozhil in the arena of marketing gimmicks?
Por Thozhil is an exceptional movie that stands out because it doesn’t have any songs or unnecessary additions. Its story is captivating enough on its own, making it a rare and impressive thriller. It was a satisfying experience because it is very rare to work on projects that align your personal interests with professional ones. In fact, it even blurs the line between the two. Por Thozhil’s score is commercial but minimalist, and it’s particularly sublime in some parts. Overall, it’s a clean and straightforward score without any unnecessary elements.
Apart from your music, you have also branched out as a producer (Kumari). How did that entry happen, and what kind of films will you prefer to back?
Nirmal Sahadev, the director of the film, is a close friend. As he was in a conundrum of finding a producer for his feature, an experimental project, we started the production banner, Fresh Lime Soda, intending to produce the film on our own. Right now, we are focused on commercial-valued films. We have a responsibility to those people who invest money believing in us. When you consider this as a business, you go with the flow. You should know what is commercially viable. Being a producer and conceiving a film as the viewer are two different realities. When we become sustainable enough, films of my liking can be expected.
As a music composer working in various industries, do you cater to each region differently?
There is a difference in the sensibilities. There are slight differences in the instrumentation as well. Other than that, nothing much. I can’t specify a better example than Nanchiyamma (National Award-winning singer who sang Kalakkatha from Ayyappanum Koshiyum), and it was a sense of justice as well to the land, which was on the blacklist for a long time. Many people have expressed pride in being from Attapady since the song’s release. It was crucial for the film, and we searched for a voice that fit perfectly, ultimately discovering Nanchiyama, who became an essential part of the film, its score, culture and now its history.