After completing my studies at the Pune Film Institute, I packed my bags and reached Kottayam via Madras to shoot a documentary by Aravindettan (G Aravindan). I arrived late after taking several buses. By then, Aravindettan had taken KG Jayan, who was assisting Shaji chettan, for Panchavadi Palam (directed by K G George). Since Jayan was away, Shaji chettan asked me to stay back and assist him on the sets of Panchavadi Palam.
Though I had met Shaji chettan earlier, those four or five days on set helped us get to know each other. Later, I worked closely with him alongside KG Jayan in films like Meenamasathile Sooryan (Lenin Rajendran, 1986), Chidambaram (Aravindan, 1985), and Principal Olivil (Gopikrishna, 1985).
Because of this association, I got my first independent assignment for Theertham (Mohan, 1987) — a project initially meant for Shaji chettan. He actually recommended me to Mohan, calling him directly and asking him to trust me. My second and third films, Eenam Maranna Kattu (Thomas J. Easaw, 1988) and Ore Thooval Pakshikal (Chintha Ravi, 1988), were also meant for him, but he handed them to me.
Then came Piravi, his first film as a director — my fourth as an independent cinematographer. Having seen my earlier work, he trusted me completely. Piravi was a breakthrough in every sense — in its making, cinematography, sound, and editing. Everything happened organically, nature helping us in ways we could not plan.
While the director defines the composition and camera movement, lighting — the soul of a scene — is where a cinematographer truly expresses himself. Except on one occasion, he never interfered with my lighting decisions.
Sadly, after Piravi, we never worked together again, though we stayed in touch. One reason was that after Piravi, I received many offers from outside Kerala. There was always hope that we would collaborate again, but it did not happen. That will remain a regret.
The last time we met, he told me, “Sunny, do not keep enmity with anyone. Life is short.”
(as told to Rajesh Abraham)
