Mani Ratnam Reunites With Kamal Haasan After 38 Years For Pan-Indian Film ( Photo Credit – X )
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They last came together in Nayakan (1987), though Kamal Haasan did do a voice-over in Mani Ratnam’s Ponniyin Selvan in 2022. The veteran filmmaker speaks on his new film, alluringly named Thug Life, and his reunion with the acting stalwart after almost four decades when they both individually went places in their respective domains.
First and foremost, Thug Life is a very interesting title for a pan-Indian film. I read somewhere that it was a title liked by Kamal Haasan. How did this name come about?
I think the idea was his. We were working on this script and thinking about titles, and when the story was narrated, this seemed the right idea as it seemed very close to the film’s theme, and so it became the title.
And what does it mean when your film is termed a ‘spiritual’ sequel to Nayakan?
( Photo Credit – YouTube )
(Laughs) That’s probably someone’s interpretation because this film is very different from Nayakan, but it is in the same genre, that’s all. It is set in the world of crime but deals with human emotions. Those are the two commonalities, but otherwise, there is no connection in terms of characters and storyline. Even the themes within crime as a subject are not the same, and so the same director and actor combination does not make my new film a sequel!
Both of you have co-written the film, which probably means the screenplay & dialogues. But who has written the story?
The idea of the story came from Mr. Kamal Haasan, but we developed the screenplay and dialogues together.
So did you approach him this time or was it he who came to you?
I first approached Kamal Haasan before the time I got into films! I approached him several times as a director always wants to work with actors he admires!
Another point I read was Kamal Haasan comparing you to his Mentor, K. Balachander. Your comment?
I did not know that! To me, Mr. Balachander is simply the reason I am there in films! I had watched his films and realized what filmmaking was and that there is somebody called a director who kind of conceives and executes a film. So I am hearing this because of Balachander-sir, and if Kamal Haasan thinks that there is some kind of resemblance between us, I am very happy about it!
Your cast is a surprising mix. How did you do that?
Well, the list given out includes Mr. Pankaj Tripathi, with whom I have worked before in Raavan, but in this film he is not there. That is a kind of misinformation. But I wish he was there and I had a role for him, because he is a fantastic actor! Yes, I have Mahesh Manjrekar, Ali Fazal, and Rohit Saraf. So you look at the film’s needs, think of an actor, reach out to him, see if he is available and interested, and then you work with him!
Coming to Kamal Haasan, he is now doing very select films. How did Thug Life fall into place?
( Photo Credit – YouTube )
I think he’s been selective for a long time now. He was among the first actors in Tamil cinema who decided to do only one project at a time when other stars were doing multiple films. He has always been like that for over 30 years and only does films he is convinced about. We talked about multiple projects and homed in on Thug Life. Even when we did Nayakan, he was doing no other film and took up his next only after completing my film.
True, but what I meant also was that there is a considerable gap between his Vikram and Kalki 2898 AD and now your film.
Yes, but that’s also because filmmaking has changed quite dramatically. There is longer time taken in pre-production and post-production, and even production, so it takes more time to finish a project and that’s why these gaps are there. A lot more detailing can happen now thanks to technology, and a movie must work, because people can stop a film whenever they watch it at home. Sound also has grown so much and computer graphics have come, so some kind of perfection is needed.
You are one of those few directors who have always balanced technology with the staple element of emotions that were always there in older movies as dominant factors. How do you ensure this?
The story and the playing-field in which the entire set of characters interact is what defines and decides the scale. So you have to do whatever the film demands as well as you can. There are some films that are small and intimate, but can still be effective. Others have a wide expanse.
And what is more important to you of the two?
I think any storytelling is about emotion. That is primary. Action and romance are also really about emotions, with action being about either anger or survival. Technology is just something we have today, and it helps.
Finally, I think even Mr. Raj Kapoor & Shankar-Jaikishan will get a complex because you have done a record of 17 Films with A.R. Rahman. How do you look back at the journey & how has your bond evolved? Just like Raj Kapoor introduced S-J In Barsaat, you also introduced Rahman in Roja.
( Photo Credit – Facebook )
(Laughs) It’s been 33 years, but it doesn’t look that way! Because Rahman is someone who is still searching for something new, something different, and tries not to repeat himself. And therefore, in each film, we look for a soundscape that will be right for it. So each film is like the first project we are doing together!
When he came in, he produced sounds that were new and unique and so fresh for Indian cinema. He was a pioneer in that and he always had this hunger for searching for a new way in which a melody can be presented. And that holds true even today. He is still some learning constantly and blending art and technology.
And now, what is next from you?
(Laughs) Let me release this film, take a break, and then think of a new movie!
