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At the editing table

After bringing about a revolution in the way films are edited, Lenin is now taking film appreciation to the grassroots

PHOTO: K. ANANTHAN

SUCCESSFUL PERFORMER B. Lenin

This ace film editor prefers to call himself a performer. "Film editing, like music or cinema, is a form of art," says B. Lenin, smiling. "By observing every little aspect of a movie — its rhythm, music, voice modulation, special effects and direction — you learn life at the editing table," he adds.

His creative satisfaction is complete when he identifies with the feelings of the characters. That is why he chose to edit director Jeyaraj's Malayalam movie Anandabairavi that deals with the relationship of a child prodigy with his father, a Kathakali dancer, and with his three ammammaas (grandmothers). "In the end, the boy dies and the pain lingers. I make it a point to choose only such films that take me along with the flow of the characters," says Lenin.

Travel back

He admits that to get that kind of satisfaction, he needs to travel backwards. The famed editor recalls Malayalam film director, the late Padmarajan's Thoovana thumbigal and Moonampakkam as fine examples. "Now, I have decided to make my own movies and edit them," he says, adding that he is currently working on a film based on environment and humanity for the Rajiv Gandhi Foundation.

National Award

Lenin, who has won acclaims for his editing skills, also bagged the national award for direction with Oorukku Nooru Paer, a film based on Jayakanthan's novel that dealt with issues such as crime and capital punishment. Rekkai, on the positives of the joint family system, was also critically acclaimed.

The man, known for the rhythm and pace in his cuts, says the purpose of `jump cuts' (used in editing to speed up narration) is now overused. "Every action is so fast paced that it strains your eyes. As a result, songs and sequences don't register. I hope this trend fades soon."

Lenin says the beauty of good editing lies in sustained shots that flow with the story line and linger on long after the film is over. "Digital technology has worked wonders, but how you use it matters," he says, adding, "Carnatic music, Beethoven or Mozart ... the experience is beautiful when you listen on DTS. But, when you use it in movies to highlight a car crash or violence, it is jarring," he adds.

A visiting faculty for visual communication courses in various institutions, he says these students are distracted by lifestyle changes. "They take up fancy jobs as designers. Some get back as lecturers, some turn entrepreneurs.

For the rest, it is an entry ticket to acting. To ignite the fire in their minds, it is important to tell them about responsible filmmaking. Movies are nothing but emotions. So, when they want to sell emotions, they need to be careful about alavu (limit) and murai (method).

Make money, but give something back to the society," he says.

Realistic films

Watching films that reflect reality is important. "It is films like Fiddler on the roof that inspired me to become what I am today. I request youngsters to enrol in film societies, attend film festivals and participate in discussions to strengthen their ideas," he says.

To take film appreciation to the grassroots, Lenin has donated a film projector to a group of villages around Tamil Nadu to screen films. "I don't want to lead by example. Let them explore on their own. Take the technology to them, teach them how to operate a camera, how to edit, to play the violin or the harmonium ... just allow them to create," he says. "Leading actors should make a beginning in this direction," he adds.

New ideas

To take film appreciation to another level, Lenin also plans to screen unedited rushes of the films he has worked on. "This way, new ideas will be born on how to improve the cuts with the help of technology and to understand the different layers in a film.

This will create interest in youth to read films better," he explains.

K. JESHI

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