Ranjan Pramod is a bundle of raw energy and aggression. His passion for cinema is palpable as he gushes on the art of filmmaking. Back after a hiatus with O.Baby, the brain behind popular films such as Meesa Madhavan, Photographer, Naran, Achuvinte Amma, Ennum Eppozhum, Rakshadhikari Baiju Oppu reveals his maverick mind in interaction with TNIE
Who was Ranjan Pramod before Randam Bhavam? Do you have a film school background?
Yes. I studied editing at Adyar Film Institute (now MGR Government Film and Television Training Institute). After that, I assisted filmmaker Rajiv Menon for a couple of years. Then I did a lot of advertising films. And that was my learning ground.
When you entered feature films, why didn’t you continue with editing?
See, editing is a film’s grammar, and shots are its alphabet. That is why I went to study editing, not because I wanted to be an editor. I don’t think I have the patience or the concentration for the job. Even when I’m directing, I will only watch the video after a basic layout is readied by the editors. I’ll give all the pointers for it.
Has your editing background helped you as a filmmaker?
Of course. I realised very early that understanding editing will help the filmmaking process. Every director and writer should also be an editor. We should know where to call a cut and where to start again. In my opinion, if anyone wants to study filmmaking, they should start with editing.
Where did you get the guidance or inspiration to study in a film institute?
I used to watch all the classics that appeared in Doordarshan. Then there was Odessa, the film collective formed by John Abraham. He had already left when I joined, but members were allowed to take films with them and watch at their leisure. This exposure to good movies was a great help. When I get curious about something, I aggressively chase it. This aggressiveness has definitely helped me in my younger years, especially during the learning period.
You entered the industry as a writer with Randam Bhavam, not as a filmmaker. What was the reason for it?
Actually, I was planning to direct a film in Tamil titled Mazhai Vara Poguthu with Ajith and Juhi Chawla. But that’s when a long strike hit the industry, and the film had to be dropped. I was working on this film for over two years, and it got called off just before the commencement of the shooting. It took a toll on me and pushed me into depression. Later, it was my friendship with Lal Jose that brought me to writing. Actually, I never planned to be a writer, nor was I planning to enter Malayalam cinema.
Was it your meeting with Juhi Chawla that led to the offer to direct a Shah Rukh Khan film?
Yes. I was in Mumbai to meet Juhi Chawla for the narration. It was writer Robin Bhatt who picked me up from the airport. Before dropping me back, he invited me to his office and asked whether I wanted to do the same film in Hindi with Shah Rukh and Juhi in the lead. And I was in a conundrum. It was a huge opportunity. But as I had already committed myself to another project. I politely refused
Robin’s offer.
Why weren’t you keen on doing Malayalam films?
By the time I was writing for Randam Bhavam, I had forgotten quite a bit of Malayalam. I felt Tamil cinema was my playground. I thought of returning to Chennai after Randam Bhavam. However, the film faced a setback at the box office, and I felt defeated. Lal Jose and I desperately wanted to deliver a hit, and that’s how Meesa Madhavan happened. After its success, I was definitely about to leave Malayalam cinema. That’s when Sathyan Anthikad approached me, and I couldn’t say no to him. How do you say no to a director like Sathyan Anthikad? That’s how Manassinakkare was born.
How did you cope with Randam Bhavam’s box office failure?
Two days before the film’s release, we organised a preview in Chennai, which was attended by all the big names in Malayalam cinema. They all loved the film and heaped praise. But things changed when it was released in theatres. I was shattered. Later, Ajith happened to watch the film, and he liked it. He wanted to remake it in Tamil, but I didn’t want to revisit it. Today, I see many raving about the film, but I don’t feel any excitement. I don’t even wish to remember the film or its experiences.
You said ‘no’ to Shah Rukh Khan and Ajith’s films. Have you ever regretted these decisions?
Well, I do during my days of struggle. But I mostly feel happy about myself. What’s important to me is my integrity. At the end of the day, I’m living for myself and not for others. Those who want to stand with me can do so, others can leave. That’s my attitude.
Will there be a film with Ajith in the future?
If somebody is ready to coordinate, then definitely, yes. I wanted to do a film with Ajith even before he became a big star. That’s only because I saw a lot of potential in him. Unfortunately, that hasn’t been fully tapped yet. The Ajith we’re seeing today is a star who designed his career according to the market needs. If I get to do a film with him now, I might be able to show a different side of him. But I don’t think I have the perseverance to pursue something like that now. Forget doing a film, it would be a herculean task to even meet him now.
After Achuvinte Amma came Naran, which is widely regarded as one of your best works…
Joshiy sir, who visited Achuvinte Amma sets for some reason, barged into my room and said, “You have to write a movie for me”. I couldn’t say no because, like Sathyettan, Joshiy sir was a filmmaker I adored. Actually, I was planning to direct Naran with Lalettan. But I thought I’ll direct my film after working with Joshiy sir and giving the script to him.
You always wanted to make films that pull the audience to theatres. Did you think a film like Photographer could bring in the crowd?
I certainly did. The only thing is, the film happened to be different from people’s expectations. When Naran became a hit, people expected something similar. But, Photographer was like a docu-fiction. My priority wasn’t commercial success but documenting the Muthanga incident.
In my own land, my government used guns against our own aboriginals, our tribals. As far as I know, such an incident hasn’t happened anywhere in the world. I felt like there would be no meaning to my life, both as an artist and filmmaker, if I didn’t document it.
‘If you want to cross borders, forget comedy’
Why did you take a long break after Photographer?
Well, the kind of movies I wanted to make were different. I grew up watching classics like Electra, and I couldn’t do anything that matched those films. At that time, the Malayalam industry was in a primitive state; it still is. I knew my approach should differ from what the industry was doing then. That was how I treated Photographers. But while doing it, almost the entire crew was against me as they considered my approach wrong. I realised the atmosphere wasn’t suitable for me then and decided to take a break. 5-6 years later, my friend and actor Vijayan Peringode asked me to return to the industry as times had changed. Now that friction is absent. People understand that I’m attempting something different, unlike earlier when people treated me like I’m completely ignorant.
Just like Randam Bhavam, Photographer also received a late acceptance…
My films have that shelf value. That realisation helped me to come out of the depression caused by Photographer. I realised that we cannot expect a good response at the time of release itself. It may have an impact on the future as well. I think such expectations are barriers to a good work of art. The lifetime of a cinema is much longer. The real audience of the film would come later. Even now, I receive good messages about those films. But it doesn’t excite me. Because I am my biggest critic.
Rakshadhikari Baiju was a critical and commercial success. What did you feel then?
Whenever I complete a project, there’s a sense of satisfaction within me. But I am not stuck there. Rakshadhikari Baiju was a realistic film, and I am happy about how it turned out. Because one should have good command over the filmmaking language to do such a film. It is an achievement. But I have to do much beyond that. In the next 4-5 years, the coming generation, who have good exposure, will take Malayalam cinema to great heights.
Do you think Malayalam filmmakers have to follow international cinema?
Yes. It is important to watch and study movies. In my opinion, if Malayalis start using our intelligence accurately, no one can surpass us. It’s clear that we haven’t reached where we could be. Though we are making around 200 films a year, we’re nowhere near Korean, Iranian, and Latin American films.
What do you think is the reason for that?
I think it’s because many of our contemporary directors copy whatever they watch in world cinema. That will make us inferior, no? We usually look at what others have rather than looking within. Also, we are the successors of Kunchan Nambiar, sarcasm is our forte. We have that innate I-know-it-all attitude.
How do you land on your subjects? What’s the excitement factor?
I start thinking about the story only after the project is ready. I need to have an idea about the project. Manassinakkare happened when I accidentally saw a magazine’s cover with the headline ‘Sheela wants to come back’. It was a gorgeous black and white photo of her, and I kept wondering what costume would suit this beautiful woman now. At that moment, the song, ‘Kizhakke Malayile Vennnilavoru Christhyani Pennu’, struck me from nowhere. I imagined Sheela as Christian woman in a traditional chattayum mundum and that costume led me to the story.
Similarly, Achuvinte Amma was also born out of a simple thought. Sathyettan asked me, “How would it be if Urvashi and Meera Jasmine played mother and daughter?”. I thought it was an interesting combination but wasn’t sure if Urvashi would agree. Sathyettan assured me that he has already got her nod. But he was quick to add that there shouldn’t be a big difference between this mother and daughter. The immediate question I asked was, “Oh then, they aren’t real mother and daughter?”. From that question, the film was born.
In the case of Ennum Eppozhum, Antony Perumbavoor asked me if I can script a film for Sathyan Anthikad. During the initial discussions, Manju Warrier’s name wasn’t there. After the release of How Old Are You? there were talks about Manju planning to be active in cinema. That’s when we thought of working out a Mohanlal-Manju Warrier-Sathyan Anthikad combination. The next challenge was to zero in on a subject that could fit in both Mohanlal and Manju Warrier with equal prominence. Manju had a certain image at that time, which meant we couldn’t make them a romantic pair. We knew people would jeer the moment these two say, ‘I Love You’. So we conceived the last scene first—the moment romance blooms, the film ends. We kept bouncing ideas, but couldn’t land on a story. After a few days of struggle, I realised that I had the story within me; it was just that I wasn’t able to see it. That’s how Lalettan’s character in the film was born —a lazy writer whose career is at stake has to write a story on Manju Warrier. To make it more dramatic, I made the female lead a divorcee fighting for her daughter’s custody.
For Rakshadhikari Baiju, I wanted to do something that I hadn’t done before. I wanted it to be a new experiment. I am not competing with anyone. I knew that I had to do it with whatever resources I had. Many were not accepting my ideas and I didn’t have a hit background as well. So I decided that it would be an art with whatever resources I had.
Coming to your latest film, what’s O Baby about?
It is a drama thriller. It has action, adventure, romance and drama. It is a package like any other film of mine. But I am presenting it differently so that the audience will not recognise it as a package. I am trying to break that package.
When did the idea of a thriller come up?
Just like any other story idea. But if someone tells me I can’t, then I will be trying my best to make it work. You should have a problem first, then it will be easy.
Who challenged you that you cannot do a thriller?
Myself. Because I have done feel-good and comedy films. But mostly, action films have a market value. Then we will be noticed by stars and heroes. Though Rakshadhikari Baiju was a hit, nobody from other industries took up the movie. Comedy films are regional. If you want to cross borders, then you have to forget about comedy. Chaplin and all are an exception in this case.
Apart from being an actor, Dileesh Pothan is also a filmmaker. Did it help to have him headline and produce O Baby?
Trust is very important in cinema and Dileesh had that in me. If he had said ‘no’, this project wouldn’t have happened. It’s a highly experimental film, and I don’t think I could’ve convinced any other actor to do it. Dileesh understood what I was trying to do because he’s a filmmaker himself. There’s also a lot of responsibility on his shoulders because he’s the only known face in the film.
Like your earlier films, O Baby also has a lot of new faces. Do you think casting newcomers adds to a film’s freshness?
It’s true to an extent, but I’m not always particular about it. While working with experienced actors, they know what to deliver which makes my job a bit easier. But with amateurs, you should mould them differently. The good thing, though, is you get a lot of rawness. For Photographer, I cast a boy who didn’t have absolutely any idea about cinema. And imagine, this boy had to act with someone like Mohanlal. But interestingly, it was Lalettan who was finding it tough. He was struggling to match the boy’s raw energy. As a director, my job is to get them both on the same page, communicate my needs and get what I want.
What kind of rapport do you share with Mohanlal?
I’ve worked with him in three films (Naran, Photographer, Ennum Eppozhum), and I find it fascinating that he doesn’t need a lot of explaining. You just have to give him a brief, and he’ll understand the rest. People say he doesn’t prepare a lot, but I don’t think so. We usually go to shoot only 6-8 months after we first pitch the story idea. But even after all these months, he’ll have a clear idea about the character. So there’s some kind of preparation happening in his head, it might be conscious or subconscious.
But for that preparation to happen, the story idea has to be sown firm and deep in him. That’s our responsibility. Once that idea sprouts, he’ll take care of it. Lalettan might seem like a free-flying kite—having fun and making others comfortable. But beneath all that, there’s a lot of processing happening.
Mammukka has a completely different approach from Lalettan. Though I haven’t worked with him yet, I know his discipline and devotion to work. Unlike Lalettan, he’s particular about every little detail, which includes his look and costumes.
So is there a Mammootty project on cards?
We’ve been in discussions right from the time I was an assistant to Rajiv Menon. During the shoot of Randam Bhavam, actor Augustine approached me to script a Mammukka-Shaji Kailas film. Since I had no plans to continue in Malayalam cinema, I declined the offer. That refusal didn’t go well with Mammukka. There was a brief gap between us. But after the premiere of Randam Bhavam, he spoke with me and appreciated my work. Ever since then, we’ve been discussing several ideas but nothing worked out. He is an actor I adore and respect a lot, so I was keen on doing something substantial which will also excite him. Finally, things are falling into place now. Mammootty Kampany will be producing the film, but we haven’t finalised the dates or anything as it’s a big-scale project.
Do you have any ambitious ideas in mind that you would want to make a film someday?
There has never been a dearth of ideas (laughs). One such is based on the decline of the Indus Valley Civilization. It’s a truth that nobody has spoken before and I would love to bring it to screen. But it’s a huge project, which would also ruffle a lot of feathers. I tried approaching a production house in Mumbai and they were even impressed with the idea. But when they pitched it to a few people, the response wasn’t very encouraging.
You recently said that no sane person would ever believe what’s being propagated through a film like The Kerala Story. Don’t you think films influence society?
It can, but I don’t think it means much. Such influence will probably result in a few votes, but I don’t think it’s a threat. The Kerala Story shows that a certain section of Muslims are out there with an agenda to trap women from other religions in the name of love, convert them, and take them to countries like Syria. I agree there have been a few cases, but this whole theory of trapping in the pretext of love sounds stupid to me. That’s why I said no one with an ounce of common sense would believe it.
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