Keen observer
VIJAY GEORGE
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After an interval, scenarist Iqbal Kuttippuram has come up with ‘Arabikatha.’
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Writing for the screen: Iqbal Kuttippuram is the scenarist of ‘Arabikatha.’
As a young boy, Iqbal Kuttippuram had seen the outpouring of grief over the death of communist leader Azheekkodan Raghavan. He had also witnessed the people’s affection for their slain leader. “Malayalis have an inherent fascination f
or politics, though they may deny it vehemently. We criticise the leaders, their policies and decisions but show our true colours at crucial moments, like elections for instance,” he says.
All these thoughts helped him conceptualise Cuba Mukundan, the lead character in his latest script, ‘Arabikatha.’ Mukundan is a hardcore communist who is not ready to compromise on his principles even if those very same principles make him feel like a complete misfit at times.
Making a comeback after a hiatus after the success of ‘4 the People,’ Dr. Kuttippuram, a homoeopath practising in the Gulf, talks in detail about ‘Arabikatha’ and also, about his kind of movies.
How autobiographical is ‘Arabikatha’?
I am quite sensitive to social issues like most Malayalis and can easily relate to people. Moreover, my profession makes it essential to observe people closely. In short, the issues narrated in the film may not be completely autobiographical but the story centres on the the lives of certain people I have met at various stages in my life.
I have been a keen observer of Leftist ideology and I believe that Communism has played a tremendous role in shaping the social structure of Kerala. This thought might have helped me in moulding the storyline.
Did you have to make a deliberate effort to avoid repeating the essence of ‘Sandesham,’ in which Sreenivasan had played the role of a Communist?
I was thinking the same while narrating the story of ‘Arabikatha’ to Sreenivasan, since he had not only played the character in ‘Sandesham’ but had also written the script. But the only similarity between the characters was that they were Communists. The framework of the films were very different. ‘Sandesham’ revolves around a family while ‘Arabikatha’ deals with society as a whole. Again, the characters have no similarities in their nature or even in their allegiance to the party.
Did your stint in the Gulf help you in writing about the woes of Malayalis working there?
Of course. As a child, I had seen expatriates being treated like big heroes then. Later that picture changed completely when I worked in the Gulf and interacted with some of my patients. There might not be many such people in the world who work for their families so selflessly.
How did films become a part of your life?
I started writing scripts as a medical student. I had written the script for a serial called ‘Koodumattam,’ based on Ranjith’s story, which was directed by Kamal. Gradually, I started getting involved in story discussions. Later, I wrote the story of ‘Niram’ and ‘Megha Malhar’ and scripted ‘Gramaphone,’ ‘Swapnakoodu’ and ‘4 the People.’
What helps you choose a story?
I try not to repeat themes to make them look fresh. This is the reason why I take a break; it is to wait for challenging storylines and to develop them. I have learnt valuable lessons in the process. For instance, I feel that the failure of ‘Gramaphone’ was on account of the four strong characters in the film. As a result, the attention of the viewer was not focussed.
Do you have a formula in your films?
Although I don’t have a formula while writing the script, I think there is a formula for cinema. In ‘Arabikatha,’ there is a hero and a villain. There are conflicts, friction, developments and a twist in the tale, which is an accepted formula for films.
You have worked mostly with director Kamal. How different was it to work with Lal Jose?
Both Lal Jose and I come from Kamal Sir’s school and he is almost like a guru. Working with him was a learning process. The comfort level was better with Lal Jose as we are almost of the same age. That Lal Jose has a good cinema sense and loves to experiment are added qualifications.
Your films have dealt with different themes, from candyfloss romance and action to family dramas. Which subjects are you most comfortable with?
I don’t think there is something like being comfortable with a particular segment in film writing. Films that are easily accepted by everyone alike could be the toughest to write. I always think that if you find the writing process comfortable, your creativity level tends to come down.
What then is your kind of film?
One that does not fit into any set moulds. After seeing a film the viewer should not say it has been written in my conventional style, if there is one.
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