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Biding his time

Actor Prasanna revels in his new-found success

CHOOSY ABOUT ROLES Prasanna

In an industry where many of his contemporaries are signing films left, right and centre, Prasanna has been choosy. It has been more than five years since he dropped out of engineering college to pursue a career in films. From 2002, when he made his debut with Susi Ganesan's youthful Five Star, he has charted his career in tinseldom with care.

Barring two run-of-the-mill films that bombed at the box office, the rest have been different. Be it Azhagiya Theeye, Kasthurimaan or Kanda Naal Mudhal, the hero with a boy-next-door image has won rave reviews from critics and the masses alike.

He is now shooting for Kannum Kannum, directed by G. Marimuthu, where he is paired with Malayalam actress Udayatara, and is all set to act in North Madras Pasanga, produced by GV Films and directed by Anwar.

Ask him if it was a conscious decision to do soft roles, and Prasanna replies in the negative. "But, they were the best of the lot offered to me," says the Tiruchi lad.

"Radhamohan Sir's Azhagiya Theeye (his first big hit) was a big lesson on how to choose films," he says.

Chandru, the do-gooder protagonist in the film, came alive thanks to an understated performance by Prasanna. This is something that producer-actor Prakash Raj never fails to mention in every interview.

What was it like being toasted by the best in the industry? "I was really happy when Prakash Raj sir appreciated my work. The same goes for Bala sir. He saw Kasthurimaan, hugged me and told me I would earn a good name," he recalls.

The best compliment, of course, came from legendary director K. Balachander. "I got to spend one-and-a-half hours with KB sir. It was such a wonderful experience," he says.

Even his parents, who were initially taken aback when he chose the spotlight over the physics lab, now rejoice over his good run.

His decision to do only one film at a time stems from his experiences during the making of Kanda Naal Mudhal and Kasthurimaan, for which he shot almost simultaneously. "I am not bothered about what others are doing. My policy is to do one at a time. You need to focus on a character.

It is difficult to veer from one character to another. It affects continuity."

In keeping with his policy, he is to take a month's break before North Madras Pasanga. Mention the film, and he is all charged up. "It is an interesting script and has some great technicians too," he says.

SUBHA J RAO

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