Realistic frames
SANGEETA
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Cinematographer Tirru S says that his frames depend upon the story and the script.
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We did not try to light up scenes to enhance the visual quality or choreograph the actors according to the trolley or jib movements.
In the frame: Tirru and Mammootty on the sets of ‘Mission 90.’
Kashmir is a locale that would inspire any cinematographer. But Tirru S, cinematographer of ‘Keerti Chakra,’ was not excited by the visual possibilities of the film. He was drawn towards the predicament of the protagonist.
“Well, it is my way of working. I believe in realistic, natural framing. I compose only in accordance with the storyline and would prefer a visual treatment within the parameters of the script,” explains Tirru.
“‘Keerthi Chakra’ portrayed the work of the NSG in Kashmir. The perspective of the film was different. It was narrative, so it was important to keep the audience hooked to the story. Any extra shot would have been a distraction. But we did try to capture the land’s beauty in the songs,” he adds.
He has applied the same principles of candid film making in his forthcoming film ‘Mission 90 Days.’ The action-packed narrative recounts the story of the hunt for the assassins of Rajiv Gandhi.
“Again, the subject demanded such an approach. We did not try to light up scenes to enhance the visual quality or choreograph the actors according to the trolley or jib movements. We just made them rehearse and perform, and then captured the action. Even make-up was minimal. We had decided on such an approach while discussing the script,” explains Tirru.
Tirru has scripted the film along with the director Major Ravi.
“We had been discussing ‘Keerthi Chakra’ and ‘Mission 90’ days for the past five years. I have made some contributions to the script, which is essentially Ravi’s. He has been generous enough to give me the credit for that,” he says.
Tirru met Major Ravi during the shoot of Priyadarsan’s films.
Instant rapport
“I was the cinematographer in Priyadarsan’s Hindi ventures in which Ravi was a crew member. We discussed films and an instant rapport was formed, like the one I have with Priyan. It is very rare to get such professional associations.”
Tirru manned the camera for most of Priyadarsan’s remake sagas such as ‘Chupke Chupke,’ ‘Kyon Ki,’ ‘Garam Masala,’ ‘Hungama’ and his latest, ‘Bhool Bhulaiyya.’
Tiru is all praise for the actors of ‘Bhool Bhulaiyya,’ the Hindi adaptation of ‘Manichitrathazhu.’ “The film, with Jaipur as its backdrop, has shaped up really well. The actors, Vidya Balan especially, have done an excellent job. And Priyan has blended the elements of the film in a beautiful way.”
Tirru has also worked with directors V.K. Prakash (‘Mullavalliyum Thenmavum’), Suresh Krishna (‘Aalavandhan’) and Kamal Hassan (‘Hey Ram’).
“It was Kamal who gave me my first independent assignment in ‘Magalir Mattum,’ starring Revathy, Urvasi and Rohini. Kamal was the producer. He knew me as I was P.C. Sriram’s assistant in ‘Thevar Magan.’
Tirru has also worked with P.C. Sriram in ‘Gopura Vasalile,’ ‘Leysa Leysa’ and ‘Thiruda Thiruda.’
“I have no academic background in cinematography. I learnt the art on the job. P.C. Sriram taught me the nuances of the work. So I would say my biggest asset is the confidence I gained during my association with P.C. Sriram.’
Tirru has ventured into advertisements also. “I belong to the first generation of cinematographers who diversified into ads.
It is different task altogether. In cinema, every scene and every shot has to move the story and time line. While in ads, one can have shots for the visual’s sake. It has to have a gloss and sophistication to persuade people to look at it.”
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