Looking through the lens
S. SHIVA KUM
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After doing a stunning job of Cyanide, Ratnavelu is the cinematographer of Yograj Bhat’s much-talked about second film, Gali Pata. This sought after lensman of the south values aesthetics more than technique.
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Photo: K. Bhagya Prakash
DEEP COMMITMENT Ratnavelu: ‘I agree to do the film only after I go through the script’
Cinematography has come a long way. It’s no longer perfunctory. There is applause when some cinematographer’s names scroll up the title cards, which shows the giant strides this art form has taken. The best in the field make big bucks sh
ooting commercials which give them the luxury of being choosy where cinema is concerned.
Ratnavelu is one of the front runners among the fresh flock of talented cinematographers with a distinctive style and possesses the dexterity to adapt to any genre. His work complements rather than it distracts, which is rare. His cinematography in “Cyanide” and the recent “Jagadam” is mind-blowing. He has agreed to do Yograj Bhat’s next film and I caught him at the director’s office for a chat.
You need flair to be good at photography. After finishing a course at the film institute why did you see it necessary to work under someone?
What you learn in the film industry is different because you need practical exposure. You learn man management and moreover the equipment you use in the industry is far superior. You learn theory in the institute and under a cinematographer it’s practical. Cinematography is a mixture of art and science.
Does the stint at the institute help at all?
I was interested only in still photography initially. It’s my elder brother who goaded me into joining the institute. My parents felt cinema would spoil me. At the institute your exposure to world cinema changes your perspective. For three years you are soaked in cinema.
How did you decide on Rajeev Menon as your guru?
I had watched his commercials. I liked his approach and style. His control over lighting is excellent. I was very impressed even with the way he handled the actors.
I had a choice to work in a film as an operative cameraman or with Rajeev. I chose the latter. Rajeev asked me a few technical questions and also if I would be prepared to wipe the floor. I said I would if it helped the lighting. I was hired. I was lucky when some of his associates left him to work independently. I learnt about editing and script writing. I became his associate within six months. Rajeev got a big break with “Bombay”. While working in that film I was offered “Aravindan”. I was initially hired to shoot just the trailer but the hero Sharath Kumar was so impressed that I was signed as the cinematographer. How difficult is it to escape the influence of the cinematographer you work under?
After watching “Sethu” Rajeev just said he did not see a single shot which bore his style. That’s the biggest compliment I could receive.
Ad filmmakers tend to use the wide angle lens a lot.
You are right. Yes, one for the depth of field and also it’s easier to highlight an object. There’s sharpness too.
But I haven’t seen you use a lot of wide angle shots in your films.
That’s because I go by the script. I may sound arrogant but I never accept a film without listening to the script. The makers of the Telugu film “Arya” were shocked when I asked for the complete script.
Are directors today more aware of the importance of good cinematography?
That’s true. If you just shoot what the director wants you are an operative cameraman.
We should not overtake the script but make a contribution. My personal style should not intrude into the style of the directors. I think of a certain scheme and then improvise on the sets.
I think one of the best compliments you got was from Ilayaraja.
Yes, it was for the mental asylum scene in “Sethu”. He didn’t know me but asked the director Bala to call me immediately after watching the sequence. I had used a green tone. He complimented me and showed me the black and white pictures he had taken.
Now with the leap in technology a lot of things are done after shooting which can enhance the quality as well as hide some mistakes in the photography. Is this good?
You can play with the contrast in lighting but that should not make a cinematographer careless while shooting. Technology should be used not misused.
More than the lighting it’s the restlessness in the camera movements that impressed in “Jagadam”. Was that your idea?
Yes and that’s because of my involvement with the script. I shot a lot with the camera on my shoulders and there were some deliberate shakes too when the hero is agitated. It was not shot like the typical Telugu film.
Do cinematographers turn directors because they feel directors are inept or because you feel you talent has not been fully exploited?
(Laughs) The second part is true. We learn a lot over the years and in a way it’s like getting promoted because ultimately direction is the most challenging part in cinema. People who don’t know a thing start directing films which is a pity.
What is it about “Cyanide” that attracted you?
I didn’t know Ramesh and was apprehensive because of the limited budget and the fact that my remuneration was high. I was intrigued during the second narration. It was daunting because the characters are holed up in tiny houses. Since they are terrorists the doors are shut and there’s no natural light. I took it as a challenge.
Which recent film has impressed you?
It’s “Munich”. Janusz Kaminski is also my inspiration. The film that really inspired me is “Saving Private Ryan”. Janusz shot it like a combat cameraman. An interesting thing is that during a shot there’s an explosion and a resultant blood stain on the lens. Anyone else would have asked for a retake after cleaning the lens. Janusz shot the whole sequence with the stain which gave it a realistic effect. Anybody can learn technique, but for me aesthetics is important. A cinematographer should not confine himself to a certain genre.
Did you like the script of Yograj’s “Gaali Pata”?
I liked it. I told him even though his previous film is a super success I have to like the new script. I like the way he spoke and agreed as soon as I heard the narration. I watched “Mungaaru Maley” and liked his work as director. Technically it could have been better.
The characterisation is wonderful.
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