Over his 18-year career, Dhanraj Koranani has established himself as a household name, with small but memorable roles in countless films, but most prominently as a showstealer on the comedy show Jabardasth. The actor, however, promises to surprise everyone with his latest film Ramam Raghavam, where he plays the lead role of a wayward and fallible young man struggling to make peace with his life and his relationship with his father, played by Samuthirakani. The Jabardasth actor is also making his directorial debut with the relationship drama.
Ahead of the film’s release, the actor sat down for an exclusive conversation with CE to talk about his experience and major learnings as a debutant director, why he made Ramam Raghavam as a bilingual, and what expectations he holds from the film.
Excerpts
You have earlier spoken about how you became an accidental director with Ramam Raghavam. Was directing never on your mind, though?
I had directed a few ads earlier. Even while working in films, I would often think about how a shot could be done better, but then I would retreat into my thoughts. With Ramam Raghavam, someone else was supposed to direct it, but the producers and director had some issues, and the film was stopped after 7-8 months of scripting work. I had stopped all other work; I was too immersed in this role. So one day, the producers said, ‘If you direct, we will make this film,’ and I didn’t want to lose this film.
At the pre-release meet, you spoke about Raghavam being a unique character and Ramam being a relatable one. Can you explain?
It’s Raghavam’s thought process. Looking at him, the audience will feel, ‘Do people actually think like this?’ Raghavam keeps surprising you. Once you feel settled, he will do something expecting to subvert your expectations. It’s like when you go to a hotel and order chicken biryani; your worst fear is that they will serve you vegetable pulav. But what if they serve you a bedsheet? (laughs) That’s how much Raghavam will go against your expectations. Also, the more anger you feel towards Raghavam, the more it elevates Ramam, the father figure.
Why the decision to shoot in two languages instead of dubbing, despite this being a small-budget film?
Samuthirakani sir is a big star in Tamil Nadu. Pramodini gaaru too is very famous. After Pushpa, Sunil sir is a pan-India face. This way, since we have known faces, we thought of selling it as bilingual. It becomes a safer commercial prospect — if it underperforms in one language, it can make up in another. Also, I feel if a film is dubbed, it doesn’t remain an original. It’s our way of giving the Tamil audience that respect. Cinema is bigger than us; we shouldn’t betray it.
Did you seek any advice from Samuthirakani sir, who is a renowned filmmaker himself, while making this film?
I used to often ask Samuthirakani sir, ‘Am I doing anything wrong?’ to which he would say, ‘If you did, would I act in your film?’ When an actor like him can put so much trust in you, one must do our best to avoid any mistakes. No actor should ask, ‘Why this scene, why that dialogue?’ I would like to believe I did enough homework and preparation during the scripting process. Also, my actors gave me that respect. Even if I asked for 10-15 takes, they obliged. When I am near the monitor, I don’t think about the budget. All those thoughts are processed before going to sets. Once I am on location, I am only thinking about how to get the scene right.
After spending so many years on the sets as an actor, were there any new learnings about the craft of filmmaking as you helmed a film?
I respect directors more now. When we take our time to walk from caravan to the sets, we take two extra minutes; we never think about one extra close shot the director could get in that time. Directors are always making compromises and never get enough time. When a day’s shoot is wrapped, the director has to immediately plan for the next day. I learnt to value their time more with this experience.
You are so popular for Jabardasth, among other comic roles. Has it been difficult to break the comic image?
An actor is complete only when they can capture all emotions, all rasas. Also, if we know we can do something else well, we are tempted to tap into that element more often. With me, it happened in films like Pilla Zamindar and Bujji Ila Raa. You do roles like Ramam Raghavam to prove yourself as an artist.
Tomorrow, I can go back to full-fledged comedy. However, if one has to list my top 10 films — among films like Bhagamathie and Raju Gari Gadhi, a film like Ramam Raghavam should hold the centre stage. It’s a character nobody will want to let go of.
Do you feel the audience’s appreciation for relationship dramas has waned a bit in current times?
Every 5-7 years, popular trends go under an overhaul. It was Shiva for the 90s, Balagam a few years ago. If one comedy film works, many attempt to make similar films. However, relationship films are universal because emotions are universal.
The situations we face in our families are the same everywhere. Here in Ramam Raghavam, looking at every character, be it father, son, or mother, you will relate to them. Also, different people express emotions differently. However, Ramam Raghavam is the kind of film where, when you are walking out of the theatre, you will not feel like saying anything for a while — it will leave you that disturbed.
After this two-year-long journey, what are your expectations from Ramam Raghavam?
The truth is, nobody knows how a film will connect with people. As the industry saying goes, ‘Just one Friday should be ours.’ Maybe 10 people will watch our film, and five among them will connect and spread the word-of-mouth. If it works, it will run as much in Hyderabad as in Vijaywada. Also, we are hoping to have a small advantage with the Tamil release.
Do you plan to continue directing?
Till February 21, I am not thinking about anything else. Whatever the verdict of the audience, I will accept it. If they reject, I will try again. If they approve, I will try to make something even better. But I am here to stay.