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Making good cinema work

Photo S. Siva Saravanan

Speaking his mind Director Viji

First impressions can be deceptive. When you meet serious-looking Viji, successful scriptwriter and director, it is hard to believe that he came up with crackler of dialogues in films as diverse as Azhagiya Theeye, Mozhi and Vellithirai (which he also directed).

"I never knew I was capable of penning witty dialogues," he says. "It was Radha Mohan who identified the talent in me. When we were struggling to gain a foothold in the industry, he used to narrate the storyline, and I would develop it. He would write it down, and share it with people who would appreciate it. All I wanted to be was a technician," he recalls. The director spoke at a programme in Coimbatore organised by Kalam, a movement to promote good cinema, and Sri Krishna Sweets.Early days

Viji recalls his initial years with a sense of gratitude. For, that was when he met Radha Mohan (they would sit under a tree and exchange ideas over cups of tea) and good friend Prakashraj. His first directorial break was the film, Alli Thantha Vaanam, a typical pot-boiler. After that, he stayed away from direction, and wrote scripts instead. And, then Azhagiya Theeye and Mozhi happened.

Does the off-screen rapport with Radha Mohan and Prakashraj reflect onscreen too? "Well, we think alike. Radha appreciates my work, and ensures the best parts don't get edited."

How does he react to the applause his dialogues receive? "I never knew people would enjoy them so much," he says modestly. As for the poignant conversations that pepper his films, Viji admits some of them are conjured up on the sets. "Sometimes, you have a gut feeling that a lengthy dialogue will not work in a situation. For instance, in Vellithirai, when Saravanan's estranged wife Mythili comes to watch his debut film, his friend tries to explain her behaviour. I had originally written a lengthy dialogue; I changed it at the last minute, and it worked beautifully."

What was it like getting back to direction in Vellithirai after a long gap? "Great. And the actors were very cooperative. I lay emphasis on subtlety in my films, and it took a while for some people to get used to it. Take Gopika, for instance. She told me that even after working in 40 films, it felt like she was working for the first time in Vellithirai. I told her that I wanted her character Mythili to be portrayed the way I had visualised it."

Vellithirai received favourable reviews for the way in which love has been depicted. But, then, Viji has always been known for weaving in an icon for love in his films. Remember the flashing bulbs and chiming bells in Mozhi? In his latest venture, the love between the lead pair comes through in the dialogues and their body language.

Refinement

Mercifully, the humour in his films is not crass, and seeks to make a point. "As a filmmaker, I think I should help refine the taste of the audience; not dumb them down. I feel many in the audience can be better filmmakers than us; but since we have got an opportunity to make a film, we should do it responsibly. Who says people don't understand? Some critics felt Vellithirai's climax would not work. But, I persisted. And, finally, it was children who clapped the most when they saw it," says Viji.

As for comparisons with the Malayalam Udayananu tharam, he says only the storyline is similar. "The script, dialogues, treatment are all different. Udayananu.was a satire on actors. This film talks about the industry in general."

Now that he has made a mark as a director, will he continue to write scripts? "I would love to write scripts. I have agreed to direct two films, but I will be writing a script for a friend."

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