HYDERABAD : KU Mohanan has established himself as one of the most prominent cinematographers of mainstream Hindi cinema, with his work in Don (2006), Talaash (2012), Raees (2017), and Andhadhun (2018). Mohanan, however, describes himself as an ‘art film’ person. He elaborates, “The kind of films I did before Don, you can call it art cinema. Maybe because of my education at FTII (Film & Television Institute of India), I still have that parallel cinema hangover.” Recalling his early years when he watched popular cinema in all languages, he adds, “If you are Indian, you always carry that commercial film sensibility within you.”
Talking about his work in Family Star, Mohanan expresses gratitude to the film’s producer, Dil Raju, and the director, Parasuram Petla, for giving him creative freedom. He adds, “Both of them trust my understanding of the subject. Parasuram also wanted different sensibilities to meld into the film.” A large chunk of Family Star is set in a regular middle-class household in Hyderabad. Mohanan explains how he dealt with these portions. He says, “I didn’t make the world look too cinematic. My approach is gentle yet realistic, the kind that seems to be amiss in Telugu cinema.”
Family Star is Mohanan’s second Telugu film. He had previously worked on the Mahesh Babu starrer Maharshi (2019). He opines that the Telugu film industry could benefit from a little organisation. He says, “They should plan things ahead and definitely aim for a revamp. You need a certain amount of time to achieve a certain finesse.” Even from a creative standpoint, Mohanan feels that Telugu cinema should experiment more often. He says, “Telugu cinema is doing very well, but it lacks a certain sensibility. They are still doing the same old thing. How many times can you see action the same way, with people flying, etc? Someone should try action in a real way.”
Mohanan retreats to his theory of treating cinema as more than a form of mass entertainment. Using language as an analogy, he explains, “The Telugu you speak now is very different from how people spoke 40 years ago. Film, too, is like a language; it’s an expression. You need to keep exploring; otherwise, it becomes stagnant.” As a reference point, Mohanan expresses great admiration for Malayalam filmmakers who, according to him, ‘continue to express on every level, be it storytelling or visual scale.’ The cinematographer talks about Mohanlal starrer Malaikottai Valiban, “It was not a very well scripted film, but Lijo Jose Pellissery’s approach to cinema is interesting. The way it was shot, the visual language—it was outstanding.”
Mohanan had worked on the recently-released Prithviraj starrer Aadujeevitham, before quitting the project a few months into the shoot. He elaborates, “I did 25 percent of the film. I was very thrilled, and Blessy and I spent a lot of time visualising. I gave 1.5 years to the film, setting up the visual style for desert sequences. However, they kept changing the shooting dates, and I had to leave the film.” Mohanan has no qualms in admitting that he decided to work in mainstream cinema for money. At the same time, he states that doesn’t lessen his involvement in a project. He states, “Once I am in, I give my 100 percent. I don’t do it half-heartedly. Which is why I often get upset if I feel that the director is not concentrating. Once you start work, money becomes secondary.”
When asked about his future plans or whether he ever plans to teach, Mohanan is quick to deny any such ambitions. The sixty-year-old cinematographer describes himself as ‘a vagabond, a free bird.’ He elaborates, “I don’t keep my assistants permanently because I don’t want to be liable. One day, if I decide not to do anything, I don’t have to wind up anything. I can pack my bags and leave.”