Basil Joseph Interview: We knew Maranamass would divide opinions
Basil Joseph is currently the man for all seasons in Malayalam cinema. Whether behind the camera or in front of it, he has consistently demonstrated a sharp instinct for engaging audiences. After establishing himself as a director with hits like Kunjiramayanam, Godha, and the game-changing Minnal Murali, he has also steadily grown into one of the industry’s most dependable actors. The latest film to showcase his flair for blending wild and unpredictable humour with surprising emotional depth was Maranamass.
As Maranamass premieres on SonyLIV today, Basil discusses playing Luke PP, his dynamic with director Sivaprasad, his evolution as an actor, and more.
“We’re currently working on my next directorial, and I hope to begin shooting next year," says Basil when asked about his much-awaited return to direction. Even while asserting that it won’t be a Malayalam film, Basil remains tight-lipped about whether it will be the much-hyped Ranveer Singh project.
Excerpts:
In the past four months, you’ve played three distinct roles, with Luke PP in Maranamass standing out as a chaotic, unpredictable figure reflecting a slice of Gen Z. Given how easily a character like that could have gone overboard, what was your approach to striking the right balance?
The trickiest part was getting the meter right. Luke PP is definitely a bit of a caricature, and the writing and making style leaned into that loud, over-the-top tone. If we pushed it too far, it could’ve ended up being unappealing or too distracting. Also, since real Gen Z folks might not behave like Luke, we took the satire route. It wasn’t about realism, but finding that sweet spot in the exaggeration. I’d just wrapped Sookshmadarshini the day before joining Maranamass, and the former had a very subtle tone. The switch was pretty sharp, but once we figured out the rhythm, everything fell into place.
The people in the film see Luke as a social nuisance. But there is a space for the audience to sympathise with the character. How do you interpret Luke’s character?
We’ve all seen people like Luke in real life. They just wander around, act loud, and do anything to grab attention. But they are not taken seriously, and honestly, deep down, most of them are harmless and even innocent. A lot of it comes from insecurity or some complex stuff from their past or family background. So they try to stand out by doing things like colouring their hair or wearing odd clothes. It’s just a form of attention seeking. They might not have much else going on, and this is their way of being seen. Earlier, we’d look at such people and instantly judge them for going against the norm. But now, I think we’re starting to see them differently, maybe even with a bit of sympathy. So in the film, too, those moments where Luke gets sympathy came naturally. By the end of the film, you’re seeing a vulnerable person.
Sivaprasad was the associate director on Minnal Murali, which you directed, and now in Maranamass, he’s directing you as an actor. Did that shared history bring a certain ease to your working dynamic?
Yeah, definitely. We’ve known each other a long time, so there was that comfort. Sivaprasad knows my strengths and weaknesses really well, and he’s someone who watches all films with a sharp, critical eye, including mine. He had a clear idea of how to present me differently from what I’ve done before. I also understand his style, so there was a nice give and take between us. His sense of humour has always been a bit loud and quirky, even in his ads and short films. We’d worked on an ad together once, which was in a similar tone and went pretty viral. His style leans more towards commercial loudness, and that’s a bit of a gamble. For people who connect with it, it really lands. For others, it might feel too much. But most people got it, which is probably why Maranamass worked the way it did.
Now that Maranamass is on OTT, what are your hopes for its reception? Given its divisive absurdist humour, do you see it as a film that could gain cult status or spark conversation over time?
Maranamass was always meant to be a fun, popcorn entertainer, not something made to be deeply analysed or discussed. It’s very basic in its core idea, but packed with humour, pop culture bits, and loads of details like Instagram reel references. I think all that could get more reach now with the OTT release. Of course, it could also draw more criticism. Some people might end up enjoying it more as a community viewing experience than a home watch. But we always aimed it at a specific audience, and I feel we’ve managed to reach them. We were aware it would divide opinions, and were fine with that from the start. Looking at the long term, I think it might really stick with younger audiences. It’s got a fun colour palette, a dog, a hero with coloured hair... I’ve seen how kids under 15 are already loving it. Films like these often end up having a certain kind of longevity among kids. The films we watched and enjoyed in childhood are usually the ones we remember most fondly as we grow older.
As a director yourself, do you find your directorial instincts surfacing subconsciously when you’re in front of the camera as an actor?
I don’t really feel like doing it while on set. That’s not the time for it. I usually get those directorial thoughts during the writing or pre-production stage. That’s where it actually helps, especially when there’s a healthy give and take with the director. If the feedback is coming from a good place, it works well for both sides. Most directors do welcome it at that point. I try to say whatever I need to say when it’s still easy to make changes. But once we’re on set, I try to switch that part off as it can confuse things for the directors and create unnecessary pressure.
Your performance as SI Santhosh in Pravinkoodu Shappu was praised, though the film saw a mixed response. Did the theatrical reception leave you disappointed, considering the effort you put into the role?
The response wasn’t what we had hoped for, but we never saw that as a fault of the audience. We felt it had potential because Sreeraj’s approach was quite different. He was trying to break clichés and do something fresh, and that really excited all of us. Of course, things don’t always play out the way you imagine. Some people liked it, but it didn’t connect with the majority. Still, I have no regrets. Sreeraj is a talented technician and a quirky writer. If that quirkiness clicks someday, I truly believe he has it in him to make a cult film. We could’ve played it safe and made a conventional thriller, but we took a risk, and that’s fine.
You’ve called PP Ajesh in Ponman your most satisfying role so far. In that widely noted confrontation scene with the monologue, did you feel you tapped into a new side of yourself as an actor?
That scene gave me the biggest high I’ve ever felt while acting. When I read the book, I knew that moment was the soul of the film, much like how a Mission: Impossible film builds up to a big set piece. I was looking forward to it the same way. The whole thing was a single shot, and the lines just flowed out naturally. I wasn’t thinking about the next dialogue or what came next. I just stayed in that moment completely.
