Samuthirakani believes that films are a reflection of our society. That’s why every time he directs a film, he makes it a point to convey a message. Throughout the conversation, he keeps stressing that during the 70s and 80s, our films used to hold a mirror up to society. But we don’t see those films much any more. Excerpts from a conversation with the actor-director:
The title (Thondan) suggests that the film has something to do with politics...
Not at all. This film is anything but that. Anyone who’s concerned about his society becomes a thondan (volunteer). I play an ambulance driver and Vikranth plays a medical attendant. I spent a lot of time researching for this project since the film deals with real-life situations. Not everyone who drives can become an ambulance driver. There’s a course, which the candidates are put through. They need to be service-oriented and god-fearing.
Was there anything in particular that attracted you to this subject?
Sometime ago, I witnessed a road accident. While a friend and I went to help the victim, I saw someone take a selfie. I was shocked. At the same time, I felt helpless. I’m not blaming anybody, but that’s how we have become. Also, there was a recent murder that happened in broad daylight in Erode recently. A boy hit a girl in a women’s college and she died. But he just walked away and nobody dared to stop him. Such incidents made me write this script. Everyone is concerned with their own problems; nobody has time to think about society.
When you direct such message-oriented films, don’t you fear you’ll be labelled a preachy director?
I know what you’re talking about. Not everybody likes my style of filmmaking. But that’s okay. I believe society and films are inseparable. Both affect each other. As a director, you have a choice — to be responsible or not. I choose to be responsible. I am not the only one though. Other directors, including Balaji Sakthivel, Vetrimaaran, and Manikandan, all want to bring about a change in society through their films. They aren’t in cinema for the sake of money; they respect the art form. Earlier, we had veterans like K Balachander who made brilliant films that have had a huge impact on my thought process.
How challenging is to tell such stories?
I am my biggest critic and I don’t mind when somebody makes fun of my work. Before the Independence era, art had a lot to do with social transformation. Slowly, things became commercial.
Now, it’s simply about skin-show. According to me, a good film should educate, inform and entertain you. Entertainment comes last! And that’s how it should be.
You sound rather annoyed with society...
Adhu kovam illa, akkarai. (Smiles) I think there is an audience for films like Appa. Not a huge audience maybe, but a significant one.
You’re a part of commercial films like VIP-2 as well. How do you strike a balance between arthouse and masala cinema?
I am a fun-loving person and I enjoy being in films. I want to learn everything about cinema. Even now, I consider myself a newcomer. Many believe that filmmaking is more a commercial business than art, but I don’t agree. There are only two categories — a film that’s successful, and a film that is not.
Tell us about your future projects.
I am a part of Vada Chennai, Aan Devathai, Yemaali, Kootathil Oruthan and Madura Veeran among others. When Vetrimaaran (director of Vada Chennai) calls me for a film, I simply cannot say ‘no’.
The title, Aan Devathai, is intriguing. What’s the film about?
Penn mattum dhan devathaiyaa? (Laughs) There are many men who’re committed to their families. The film talks about one such man. It’s a simple family-oriented story again. Thamira, who directed Rettaichuzhi, is a good friend of mine, and is directing this film.
