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`Don't let the fire die out'

They both started out at the Film and TV Institute of India, Pune. One went on to become a legendary filmmaker whose distinct style of filmmaking is today considered a school in itself. The other who went on to make socially relevant award-winning films, is among the best film theoreticians in the country and is the director of the L. V. Prasad Film and TV Academy.

When Balu Mahendra met K. Hariharan on Sunday, they started one of the most insightful conversations Sudhish Kamath ever eavesdropped on.

Hariharan: I recall when I made my first film Yezhavathu Manithan, Balu Mahendra was an icon. We were overawed because while we were shooting, we used to listen to songs of Moonram Pirai on the radio, and say, THAT is where we should reach. You don't know about it but there are a lot of stories floating around about you. We would hear that Balu Mahendra would shoot only from 6 a.m. to 8.30 a.m.

Balu: Oh my God. It was never like that. Being my own cameraman, I had the luxury of deciding what scene to take where, which is not possible for some other director. So I decide when to stop, go to the shade and do the next shot.

Hariharan: (laughs) Another myth was that you hated make up. Every morning you would come to the location and say, `Take that make up off... '

Balu: Even today, I don't use make-up on any artiste. In the sense that no grease-paint is used to cover the skin. The make-up department was up in arms against me. I was basically a cameraman... These people we looked upon in awe, people like Ranga Rao, Anjali Devi, Sharadha, Krishnam Raju, just couldn't figure out what I was trying to do without make up. So I had to put my foot down and say, "Mr. Ranga Rao, Please go wipe and come back. Have a soap wash." The old man used to get annoyed. But somehow I had the guts to stick to whatever I wanted.

Hariharan: There's been a sea change between the 1970s and now. The director and technician were important. Today, the stars seem to dominate. How are you handling this situation?

Balu: Till my last film, Athu Oru Kana Kaalam, it was Dhanush who wanted to do a film with me and not the other way. So when a situation like that comes, there's no question of Dhanush telling me what I should do with his call-sheets. So I have never faced these problems with stars. I have worked with Kamal Hassan, Rajnikant, Amol Palekar and Sridevi.

Hariharan: How has this changed?

Balu: Nowadays, I hear that the producer and director are both selected by the actor. This is a sad changeover. The reason for this is the new directors who came after us, don't tell the story to the producer. They tell it to the actor. The story is so fabricated as to suit the actor turning into Superman. When an actor decides to do this, you give the reins to him. If a new director convinces a star, he doesn't have to bother about finding a producer...

Hariharan: That's why I've never worked with a film star in all my eight films. For me, the logic of making a film with a small budget with a lot of creative inputs was primary. Therefore, I turned to other kinds of films... what they call socially purposeful films. You've attempted some films like that.

Balu: I did two films like that. But to be honest, I did not start off by saying to myself I'm going to make socially purposeful films. I just wanted to make a film. Two films I can say I made, without any hesitation, are Veedu and Sandhya Raagam ... my other films had tremendous commercial compromises. If you take Moonram Pirai, that Ponmeni Uruguthey song was absolutely unnecessary. I just put it there because Silk Smitha was there and she looked terrific those days. Even today, I have this problem. That song in Julie Ganapathy, the Ramya Krishnan song... though I am very happy with the way I've shot it, a compromise is a compromise... I look at it this way. Either do it with this song in it or you are not allowed to do it... So between stale bread and starving, I will have stale bread.

Hariharan: Both of us have come from the same film institute ... Do you think it's the serious agenda of the film institute to develop script writers...

Balu: Definitely.

Hariharan: I think it's crucial...

Balu: We should do it in our Academy...

Hariharan: It's interesting that we began with the same institute and now, we're back in another Academy, at L. V. Prasad Film Academy, where you've been such an inspiring force and at the same time, been humble enough to say that: Ok, I'm willing to learn from you guys.

Balu: I didn't say that to be humble. I really meant it. When I came to class and sat there, the first day I realised learning is a long process. Anything that stagnates, stinks. This is what I told my students yesterday. If you are a film student, you are always a film student. So many things happen around the world. You need to constantly update yourself. The passion for cinema needs to be kept alive. Don't let the fire die.

Hariharan: In a situation which is becoming increasingly consumerist, the product is becoming more important. The money is becoming more talked about than the concept.

Balu: When people talk about huge money, I get scared.

Hariharan: I believe cinema exists when it is made with intimacy, small budgets...

Balu: I completely agree. When money starts to talk in cinema, that too crores...

Hariharan: The artist begins to keep quiet...

Balu: Very rightly said. It's going to be a hard way ahead. Even in class, we see people who want to make blockbusters... We have nothing against that kind of expenditure and canvas... We both love Sholay... But at no point should we let the artist disappear into the canvas... .

PHOTO: R. RAGU

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