It was during the mid-2010s that film discussion forums became active in Malayalam social media circles. These forums offered a public domain for enthusiastic cinephiles who were keenly examining and dissecting cinema. During this phase, several films were subject to vigorous discussions and among them, Dileesh Pothan’s Maheshinte Prathikaaram (2016) was perhaps the most celebrated work.
Apart from the freshness in its storytelling and performances, the film paved a newfound appreciation for the minute detailings in each frame. While it led to the birth of the phrase, ‘Pothettan’s Brilliance’, a major part of the appreciation could be attributed to art director Ajayan Chalissery’s immaculate work. While an art director’s efforts are usually remembered for spectacle-heavy films, Ajayan proved it wrong with his authenticity and attention to details in a contemporary rural drama.
Eight years after Maheshinte Prathikaraam, the ‘Ajayan Chalissery Brilliance’ is back in discussion with Manjummel Boys. The film is based on the real story of a bunch of youngsters’ efforts to rescue their friend from a perilous cave. Though many had earlier attempted to turn this riveting incident into a film, they kept failing due to various insurmountable challenges.
Ajayan, confident of executing any project if given the required time and money, was game for it and the end result is that he hasn’t been able to put his phone down ever since the film’s release. From congratulatory messages to interview requests to curious calls on how he managed to pull off such a mammoth project, the 44-year-old production designer is now truly at the peak of his career.
Despite his hectic schedule, we still managed to get Ajayan to share with us some lesser-known details from the making of Manjummel Boys.
Excerpts
In Malayalam, art directors are not always offered challenging projects like Manjummel Boys. Do you choose a film based on the quality of its script or the scope it has for art?
Right now, when I’m offered a project, the first thing I ask is if there’s anything that I can contribute to it. I don’t like to be an art director who’s just there on the sets to supervise things. I always want to ensure there’s something substantial in it for me to do. As humans, we only have a very short lifespan, so I wish to be productive and engaged all the time.
Could you explain the difference between an art director and a production designer?
I started my career as an art director, where there were limitations to our involvement. Though we have now started using the term production designer in Malayalam, it’s still not as empowering as in Hollywood. Ideally, a production designer has a major say in the film’s overall making. He heads around 17-18 departments and oversees all major decisions, including finalising the locations, fixing colour tones and even the costumes. An art director is only one among the many heads under him.
You’ve worked on films like Maara (Charlie’s Tamil remake) where your contributions are evident and also films like Maheshinte Prathikaraam where the artwork is not supposed to be noticed. Do you ever feel disappointed with that?
I get excited, both when people recognise and fail to recognise it. It all depends on the script. I design a film’s art work according to the demands of the script and make sure it remains consistent throughout. Take for instance, the protagonist in Maara. Unlike Dulquer’s character in Charlie, Maara is a 50-year-old artist. A seasoned artist of that age will have a matured understanding of art. He won’t be using bright shades or fancy props. We considered all those traits while designing his room and his art works, in general. I also believe today’s audience notices everything. They are well informed about the role of each department in cinema. Moreover, the trend of releasing behind-the-scenes footage and sharing our works on social media also helps our efforts reach the masses.
Coming to Manjummel Boys, its original story was already familiar among many. Were you also aware of it?
No, I don’t remember reading anything about it. I came to know about the incident only after Soubin and Shawn (Antony) approached me. They initially wanted to know about the possibility of filming in a cave. It was during further discussion that I realised it’s a real story that occurred in the Guna cave. Since it’s impossible to acquire shooting permissions there, we decided to construct sets and film the bulk of the portions in a controlled environment.
Could you explain how the Guna caves were recreated?
We first visited the Guna caves to take photographs to get its measurements.and to understand the tone and texture of the rocks. The next challenge was finding a space that suited our requirements. While almost all the studios in Kerala are only around 35 feet tall, our set-up needed a height of at least 60 feet. It took us nearly four months to find a godown in Perumbavoor, which met our demands.
After finalising the space, the first thing I requested was ample amounts of time. We had to build something that had no particular shape. Within the caves, there are several irregular holes, bulges and fractures that lead to narrow passages. We replicated them all, first by erecting their skeletons using iron pipes and then covering them with fibre material. Shyju Khalid’s flawless lighting techniques also played a significant part in recreating the caves as realistically as possible.
What were your sources of research for the project? Did you interact with the real Subash and Kuttan, who must be among the very few people to have actually seen the cave’s depths?
The biggest source was the film, Guna (1991), itself. I had only vague memories of watching it as a child. Later, while working on this project, I revisited it. Apart from that, I also watched a lot of old low-resolution videos shot by tourists. And yes, I also spoke to the two real survivors and gathered some vital information. They both were stunned in delight on seeing the sets as they never expected it to be so real. Besides recreating what’s already there, I also had to apply a lot from my imagination of how a ‘Devil’s Kitchen’ would look like.
How did you design the rain sequence, which is a crucial part in the film?
It was tricky because the rains had to look real, while also ensuring they don’t damage the sets. If you notice, the rain’s force increases gradually before it starts pouring down. The sets were designed in such a way that the water from all parts of the floor flowed directly into the pit we constructed. From there, we pumped out the water using motors. The same water was then recycled and redirected into the sets as sludge. To ensure the freezing temperature inside the caves is felt by the actors and the audience, we melted ice slabs for rain water, besides air conditioning the whole set.
You seem to have focused a lot on minute details like including a plastic bottle that lies just above Subhash...
The Guna cave is a place where a lot of garbage gets stockpiled. The presence of bats and monkeys also make the whole area reek of a weird, pungent smell. When we first visited the caves, we were stunned on seeing a monkey’s skull. We immediately took its mould and made a fiber dummy out of it, which you now see in the film. You can also spot mosses and tiny flowers on the rocks. They had to be constantly monitored during the shoot as they don’t survive without natural light. Similarly, everything was planned to the last detail. A lot of credit should also go to Chidambaram, who had researched extensively about the place even before I joined the team.
We heard Sreenath Bhasi’s hallucination scene was shot in the actual Guna caves...
Yes, it was shot on one side of the structure that leads to the real cave. We had to get some 45 feet down to reach there. My team helped build the ladder, but I didn’t go down because it was too risky. Only 8-10 people went inside to shoot as we didn’t know where the pits were. The place is full of mysteries.
What would be your biggest takeaway from Manjummel Boys?
This was one of the most riskiest projects I’ve ever undertaken. Since the film’s entire second half was dependent on our work, we couldn’t afford even a minor error. At the same time, I also had to ensure everyone’s safety. Clear instructions were given to everyone regarding the safety measures. It was mandatory for people standing on top to wear safety belts. We also had experts from Mumbai to guide us. Fortunately, despite all the challenges, not a single accident happened on sets except some minor cuts and bruises. I couldn’t have asked for anything more as a production designer. Films like Manjummel Boys also prove that if production houses are willing to invest time and money wisely, Malayalam technicians can execute anything you imagine. A lot of people here have that confidence; I’m just one among them.
Finally, the meeting with Kamal Haasan must’ve been the icing on the cake...
Kamal sir invited us after watching the film. It was a beautiful coincidence that we met him in a classroom-like space where he sat like a master to discuss the film with us. Guna’s director Santhana Bharathi sir was also there. I was elated when he said he couldn’t recognise the sets. They both also shared their experiences and challenges from Guna’s shoot. Kamal sir even wondered why such a thought didn’t strike him or anyone in Tamil cinema. He was visibly excited, and that was our perfect closure for this film.