Zooming in on Sivaji
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Ace cinematographer K.V. Anand says what it was to work with mega star Rajnikanth in “Sivaji”. ZIYA US SALAM
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In action K.V. Anand on the sets of “Sivaji”.
“With Rajnikanth a cinematographer does not have much to do. There are no low key shots, no introductory shots. He is a mass hero. The cinematographer has to keep in mind that the audience will range from the rickshawallahs to NR
Is, from the educated to the illiterate. There are no beauty shots, no shots of nature.”
Welcome to the world of K.V. Anand, whose latest labour of love “Sivaji” starring the inimitable Rajnikanth, has just hit the cinema halls across the country this week. With this film, Anand has also created a little piece of history by becoming the first cinematographer to shoot a film in any language on Super 35 with 4 K technology. Anand, not surprisingly, is a shade nervous. “The whole of Tamil Nadu is celebrating. There is a festival like air. It is like Diwali. Wherever you go people are asking, ‘Do you have a ticket’ for ‘Sivaji’? I am a bit nervous but the nervous tension was not there while shooting.”
So, how different was it to shoot for “Sivaji,” the biggest Tamil film of the year?
Cult figure
“In ‘Sivaji’ I was conscious that I was working with a mass hero, a cult figure. The film is more commercial. Though I got all the cooperation from the director (Shankar) and Rajnikanth, my challenge was to show him younger than he is. At the same time, he had to look powerful. There is no frame in the film without Rajnikanth. He was quite receptive to me, and quite professional. Always on time, he also carried his own umbrella.”
Considering “Sivaji” revolves around Rajnikanth, wasn’t Anand in danger of being reduced to an accompanist? Wasn’t there a danger that his best shots may not be retained after editing?
“Shankar gave me a lot of freedom. When you are a cinematographer all you need is the director’s support. That I got. During the shooting I played a major part with Shankar. I don’t interfere with the editor’s work. But yes at the stage of story and scripting I did have my suggestions and Shankar incorporated many of them.”
Incidentally, Anand had worked with Shankar earlier in a couple of films, including “Nayak” that was made in Hindi. “I had worked with him in both Tamil and Hindi films. I had also worked with Rajnikanth in four films. But as far as ‘Sivaji’ is concerned, I have shot in Super 35, scanned and recorded on 4 K Technology. It is for the first time ever that such a thing has been done for any film in India, in any language. Earlier it was always 2K Tech.”
An ace cinematographer he might be, yet it was not the way Anand wanted his career to shape up.
“I was a freelance photojournalist. My pictures were published by the all the major newspapers and magazines. I made a portfolio and applied for a job with a leading news magazine. I was rejected. I sent the same portfolio to veteran cinematographer P.C. Sriram, who took me on as an assistant. I assisted him in five films. Then worked with the likes of Shankar and Priyadarshan.”
National Award
What he forgets to add is he got a National Award too? And the fact that he has done Hindi films as well.
“I directed ‘Kandu Kondaen’ that got me a lot of critical acclaim. I did not cinematograph that film myself as that would have been too difficult. I got the National Award for debut Malayalam film ‘Thenmavin Kombathu’. And I have worked with Mansoor Khan in ‘Josh’ and a couple of films like ‘Khakee’ and ‘The Legend of Bhagat Singh’ for Rajkumar Santoshi.”
Then he goes back in time to when he had to present Amitabh Bachchan on the screen in “Khakee”.
“In ‘Khakee’ we had to show Bachchan ageing gracefully. The colours were subdued, very muted.”
With “Sivaji” out of the way, won’t Anand be game to make a comeback to photojournalism?
“Why not? As a photojournalist you get a lot of dignity in society. If somebody were to give me a job, why not?”
He can wait for that another day.
For the moment K.V. Anand has more on his platter than many have in the attic!
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