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It is the artistic potential of a film that drives me.

Same wavelength: Mammootty plays a lead role in Vindhyan’s film ‘Ore Kadal.’

Set aside the excellent craft and outstanding performances, the common factor of these films is the conviction, integrity and savvy of its producer Vindhyan.

Over 28 years in the film industry, he has supported a dozen thematically complex, structurally innovative films – challenging the industry’s fear of funding non-conventional themes and narrations. And proving every time through the success of his films the existence of an untapped audience and space for meaningful cinema.

“I am always for artistically ambitious films. Financial viability matters but it is the artistic potential of a film that drives me,” confesses Vindhyan, whose latest flick ‘Ore Kadal’ is the subject of discussion all over Kerala. “The response has been really good. In fact, I have never got this kind of a feedback for any of my films. It comes mainly from women,” he adds.

“It was a great experience to work with Shyamaprasad, Mammootty and Meera. They are not the kind of people who would just walk away with their money once the film is made. They stand by you and are enthusiastic and supportive to ensure the success of the film.

“Why should Mammooty worry about posters, hoardings and publicity campaigns? The first question Meera Jasmine asked after the premiere was: ‘Is Vindhyettan safe?.’ And I should also acknowledge the tremendous support I got from Benzy Martin and Innocent.” It was a long pending promise that made him take up an assignment with Shyamaprasad, his classmate at the School of Drama, Thrissur.

“I know what he is, and I have seen him grow as an artiste. He just needed a push with ‘Ore Kadal’s script, and I simply provided that. Shyam was a little hesitant about a big cast, simply because he is not used to it. But I was adamant that he does it on a large scale with both Mammooty and Meera,” says Vindhyan.

The same happened with Srinivasan as well, he remembers.

“I persuaded him into direction. He tried to wriggle out, even on the previous day of the shoot. I wonder whether ‘VadakkuNokki Yantram’ would have been made in its present form if I had not pushed him.

“The same goes for ‘Vasanthiyum Lakshmiyum...’ It is my firm belief in Vinayan that launched the star in Kalabhavan Mani. It was a trend setter for many Mani films that followed,” explains the proud producer.

Vindhyan made his debut in the industry at the age of 19 as the producer of ‘Shalini Ente Kootukari,’ starring Sobha, Venu Nagavallil, Jalaja and Sukumaran.

“It was a friend who pushed me into this. The film by Padmarajan-Mohan was a hit and I got drawn into it. But I was very specific I would only make my kind of films – the ones that appeal to me.”

His ‘kind of films’ were ‘Oru Swakaryam,’ ‘Ayal

Kathayezhuthukayanu,’ ‘Daivathinte Makan,’ ‘Thaskaraveeran’ and ‘Mullavalliyum Thenmavum,’ which launched him as a writer.

“V.K. Prakash is an acquaintance from the School of Drama. He was interested in the script and we did it. I am keen on writing but right now I am focussing on production.”

Rasika Entertainments, his production company, is always on the look out for diverse themes, says Vindhyan.

“I like to venture into hitherto untouched areas. I am not the traditional financer who just gives the money and keeps off the work. I work in close conjunction with the crew and make sure that every department gets the budget allocation it deserves. I have never placed any constraints on my creative team. I am more concerned with the art of filmmaking than the business of deal making. For me, putting a film together is about realising a vision.”

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