At 100, going strong
S.R. ASHOK KUMAR
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Different themes, new faces... K. Balachander, even after 100 films, has something innovative up his sleeve
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I still care for creative work. The urge to do something new is still alive.
STAR-CROSSED LOVERS K. Balachander's Ek Dujhe Ke Liye was a good love story with all the commercial ingredients
From Neerkumuzhi to Parthale Paravasam, K. Balachander has offered films of varied themes, most of them offbeat. KB, as he is popularly referred to in Kollywood, is currently busy with his 101st project, Poi, produced by Prakash Raj's Duet Movies. In a freewheeling interview KB talks about himself, his way of filmmaking and also about his soon to be released Poi. Excerpts.
You didn't take long to scale the peak and in a way you gave Tamil cinema a new definition. What keeps you going?
I do films more for my satisfaction. I care for creative work. It is not money alone anymore, although it matters. The urge to do something new is still alive.
Which five of the 100 will you choose as your best?
Among black and white, Punnagai is one of the best. Ek Dhuje Ke Liye was a good love story, with all the commercial ingredients. For political awakening it is Thanneer Thanneer, which got the best regional film award and fetched me the best screenplay writer award. Achamillai Achamillai that commented on a political illness is one of my favourites. Punnagai Mannan, was a contrast to Ek Duje... It was in response to people who argued why lovers should commit suicide. But How can I ignore Vaaname Ellai, Sindhu Bhairavi, Jathi Malli and so on?
Parthale Paravasam did not get a good response. Will Poi be different?
K. Balachander.
Let me make it clear that Parthale Paravasam satisfied me as creator. The story was different and I was happy with the screenplay. Casting Simran and Madhavan, two major stars, was a mistake. It raised a lot of expectations. The songs became very important and diluted the screenplay. With minor actors, the film would have been a box-office hit.
You have created so many stars, beginning from Kamal and Rajini.
Prakash Raj is one of the best products I have given to the film industry. But he has not been exploited properly. Vivek, Delhi Ganesh, Nasser... the list goes on. Endlessly. Among the women, Saritha, Sujatha, Sridevi and Jayapradha are noteworthy.
They act effortlessly in your movies.
I study the artistes for one or two days to find out their strengths and weaknesses, in emoting. If their eyes are eloquent, I use a lot of silent shots to exploit that.
Your long single shot of the heroine in Achamillai Achamillai was much talked about.
Saritha is a profound artist. She can remain in focus without being monotonous. Kamal is another actor who can sustain a close-up. These two can keep reacting however long the camera lingers. This aspect encouraged me to use Saritha for that 250 foot-shot. She took it as a challenge and came out with flying colours.
How do you select your artistes?
I talk to them and see how mobile their face is. I observe the way they speak with their eyes. Selection is done more or less based on these aspects. You are acting in Poi. How do you assess Balachander the actor?
I am primarily an actor. I gave up acting only because I took up direction. Balachander is a good actor and knows his limits.
What is Poi about?
It is a love story without a villain. And the screenplay is not clichéd. I'm handling very young talent and it is a new experience.
When can we see Balachander directing Rajnikanth or Kamal Haasan again?
Well, it is very difficult to say. They both have gone far from me and may not suit my type of filmmaking anymore. Do you think you have achieved something here?
I wouldn't be working if I thought I had achieved anything at all. I have always given films which are much ahead of its times. For me achievement is honest, sincere and hard work.
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