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‘Historical’ debut A scene from ‘Bodhi’

For him, life has never taken its course abiding by convention and his debut as a film director, he says, is no different.

In theatre, he has already made a mark by aesthetically experimenting new methods. And now, based on a historical story that laments primitive social ills such as untouchability and casteism, Ajayan is making a feature film titled ‘Bodhi,’ with no real godfather to boast of.

Beginning his pursuits in theatre with Bharatendu Harischandra’s ‘Andheri Nagari Chopat Raja’ way back in 2000, Ajayan went on to make several theatre productions with remarkable impact. He had adapted Herman Hesse’s ‘Siddhartha,’ Mahasweta Devi’s ‘Aranyathinte Adhikaram’ and M. Mukudan’s ‘Oru Dalit Yuvathiyude Kadanakatha’ as stage productions.

I have always been passionate about films, not theatre alone. The only difference that I find between directing a theatre production and a film is that the former is streamlined sans much technology. It’s true that theatre ensures more honest communication than a film. But in films one gets to experiment the vastness of nature in all its glory. In theatre, the actor is given ample space to perform while filmmaking is an absolute craft of the director. While I find my creative retreat in theatre, for me, filmmaking is a matter of survival.

Director, G. Ajayan

I never have never had any filmmaking experience. This is my maiden attempt. And I am confident of seeing it through. My only strength is the countless number of films that I have seen in my life. Of all the films that I have seen, the films of South Korean filmmaker Kim Ki Duc and that of Godard have influenced me a lot. I am being honest when I say that ‘Bodhi’ is artistically influenced by Kim Ki Duc’s classic film ‘Spring, Summer, Fall, Winter… and Spring.’ As a self taught filmmaker, I look at celluloid as a rebel medium. For me it’s not a medium of celebration alone as is popularly considered.

I would prefer to market a film that has better artistic elements. The attempt should be genuine without compromising on its quality and also by not succumbing to the lure of its glitter. The passion and commitment of directors like Priyanandanan have always had a catalysing effect on me. For ‘Bodhi’ we are working on a shoestring budget under a Chitranjali package and definitely this will be one of the most economically made Malayalam films in recent times. Bhasi Irumpanam, a theatre buff-turned-social activist is producing the film under the banner Oceanic Creative Team.

‘Bodhi’ is a period film and its thread has strong elements of Buddhism. The theme of this experimental film is drawn from a chapter titled ‘Budhism and Caste’ from Prof. Lakshmi Narasu’s book ‘The Essence of Budhism.’ Moreover, it has also drawn inspiration from Kumaranasan’s ‘Chandalabhikshuki’ and Rabindranath Tagore’s drama ‘Chadalika.’ It will also manifest my political thinking and the kind of social interventions that I have attempted through several of my theatre productions. Perhaps, this is going to be the first film in Malayalam to deal with a Dalit historical story. Much of the dialogues are written in tribal language Paniya and Sanskrit to retain the ambience of a period film. The film’s music is done by Srinivas V. K. and has rich influences of tribal music and sermons of Buddhism. The visuals of ‘Bodhi’ are also likely to invoke a landscaping effect on the viewers as we have shot extensively in exotic locales like Waynad, Hampi in Karnataka and at Vagamon by breaking and discarding the conventional methods.

While the cast of the film include popular names such asSrinivasan, Murali, Jyothirmayi, Nilambur Aysha, Salimkumar, Tom George, Manjulan and a host of theatre activists, many of which are new faces including the producer. Vinod Illampilly is wielding the camera while Abhilash Unni is its art director. Joy P. P. is doing the costumes, Sivarajan is coordinating the production and stills are by Vinod, all of whom are my close associates in theatre.

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