A play of light and shade
S. SHIVA KUMAR
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Revathi has had a career one can't carp about; but there are issues that bother her
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MELLOW YEARS Revathi: `When you're younger there's more anger. The anger changes into reasoning. You realise that you need to do something and just fuming will not help' PHOTO: BHAGYA PRAKASH K.
You have to hand it to Bharathi Rajaa, the director. He saw a bubbly, loquacious, village belle in the petite, convent-educated girl he spotted waiting for a bus. The film was Mann Vasanai. Revathi was a revelation and has not looked back. But for her role as a woman's libber in Pudumai Penn in which she wasn't too comfortable, her body of work is blemishless. The icing was her role as the submissive wife in Thevar Magan which fetched her the National Award. Today, with two sensitive films as director she's also active with organisations concerned with social ills and healthcare.
"This place is beautiful," sighs Revathi as she enters the airy and bright foyer of Ranga Shankara, swathed in an elegant, silk sari. The café is bustling with theatregoers awaiting the next play. The irrepressible energy that only Shankar Nag possessed seems to pervade the place.
It was one of those magical moments of perfect lighting that cinematographers like P.C. Sriram and Balu Mahendra wait for. A shaft of twilight made the perfect backlight, framing the petite Revathi's lustrous mane. Our photographer went berserk.
The interview:
I didn't know Revathi had an affinity to theatre. What's the connection?
The connection is acting. Theatre has been a part because for a dancer the stage is important. I haven't acted onstage though. It has been a dream to do a couple of serious plays at least. You have to be really good. You can't cheat the public like we do with close-ups.
You look as good as new so why are you doing mother roles?
(Laughs) I don't know. Well, I think I'm going to stop. Sometimes you have to do certain things and I needed the money. I'm not at all happy doing mother roles. In Indian films it's very rare for a woman to get performance-oriented roles when you're about 35years old. It's very sad and I'm experiencing that now.
It's a definite changeover because you can't go back.
Ya, you can't go back. Now I have to sit and make a decision about whether I want to act at all or if I do it has to be a character I believe in.
This transition from heroine to character roles is fascinating. How do you decide? I'm sure people were wary of asking you to do mother roles.
For me it's always been the substance and not the age of the character. In Anjali I played the mother of three kids. In Pudhiya Mugam I played the mother of a teenager in the second half. I was caught unawares when I was asked to play the mother of a teenager in a Malayalam film. My role was interesting and it didn't matter to me. Then I made a mistake in accepting a couple of films.
I guess you could not refuse your mentor Bharathi Rajaa.
Well, that was one. Though the role was interesting it laid the foundation and people could approach me for mother roles. I accepted a couple of more films because I needed the money but did roles I did not believe in. I suppose I will put a stop to that.
Cinema is strange because you never get to play your age.
When I did Pudumai Penn I was 17 years old. The character was much older. You're right. You never play characters your actual age. I had not thought about this but realise that now. The saddest part is that heroine's age and physique are set. You cannot centre a film on a 35-year-old woman. It hurts and I hate it. You don't know what to do and people don't know what role to give you. That's when I decided I'm going to direct. Shobana in Mitr played a 35-year-old woman who has a teenager for a daughter.
You can't complain about your career because you had the best of directors and co-stars.
I have absolutely no complaints. But you don't grow if you are satisfied.
You worked with the best of directors but didn't work under anybody as an assistant.
I realise now that I should have. I did work with my husband Suresh when he directed a couple of films. I did approach a couple of director friends to take me as an assistant but they didn't take me seriously. When I made Mitr it was learning on the job. You keep on learning.
When you made Mitr it was with an all-woman cast. Was it a pot-shot at the male domination in the industry?
No, it just happened. The script happened to be written by a girl and when I approached P.C. Sriram for the cinematography he recommended his assistant who happened to be female. It was not deliberate. I don't deny that it was a subtle message that women can be good behind the camera too.
When I met you last, about a decade ago you felt strongly about the treatment meted out to women not only in the industry but also in everyday life. That has not been reflected in your films as a director. Has age muted your anger?
(Laughs loudly) Ya, when you're younger there's more anger. The anger changes into reasoning. You realise that you need to do something and just fuming will not help. Times have changed and doors of opportunity have opened for women but still there's a lot more to do. There are times I feel helpless. You sit down and ponder about how to solve things. The anger is still there.
You flirted with politics.
I think it was the anger to do something. I plunged in and realised I'm not equipped to be in it. I still believe you have to delve inside instead of standing outside and screaming.
The so-called moral police are hounding a couple of actresses of your generation. Do you have anything to say?
There are certain times when you know you're right but don't know how to handle it. There are times when you can't reason out with people.
You have an excuse; you're not a Tamilian.
It's not an excuse. It's fear. It's sad. You have no roots. You've been all over India. If you're going to be pinpointed region-wise it's going to be tough for all of us. You have made this your home and suddenly people say this is not your home. I would have probably done something rash 10 years ago. Now I feel there's no point in antagonising people. However, you have to make your point and after a lot of thought. This incident has really shocked me.
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