Capturing the campus, Don’s cinematographer narrates his life’s parallel tales in movie

Express News Service

When filmmaker Cibi Chakravarthy narrated the script of Don to KM Bhaskaran, the cinematographer couldn’t help but notice parallels between his life and the protagonist, Chakravarthi. “I immediately agreed to do the film. So many scenes from this film have taken place in my home, in my life.

For instance, I did MSc in Computer Science at a time when IT sector was a booming economy,” says Bhaskaran, who broke the news to his father that he was interested in films just before attending the interview at MGR Government Film and Television Institute. He shares that his father was, naturally, shocked and confused about the sudden change in his son’s career choice, as he had expected him to join a software giant in a month. “My father was apprehensive, but I requested him to give me one chance, saying that I would quit cinema if I failed to crack the interview.

That chance has paved the way for my career and perhaps that’s why I was so invested in Don,” reveals Bhaskaran, who went to assist Vijay Milton after his time at the film school and later shot films like 10 Endrathukulla, Kannum Kannum Kollaiyadithaal and Kuttram 23.

On the surface, Don is a vibrant entertainer full of life and energy. Its heart, however, lies in the father-son relationship that culminates in a heart-wrenching ending. For Bhaskaran, it was a task to balance both its emotional core and colourful packaging. Overdoing one would result in inconsistency and injustice to the other. “Our idea was to differentiate it from previous Sivakarthikeyan films and other films set in colleges.

Instead of using many colours, we chose a fixed set and made sure everything had a tint of those colours. From the badges worn by the students to the colour of the notice board, walls, pamphlets and uniforms of the professors, everything was carefully chosen,” Bhaskaran reveals. “If you notice, there are hardly any bright colours.”

The film’s final 25 minutes come out of nowhere, knocking down the viewers with a sudden outburst of emotion as Chakravarthi comes to know about the true, loving nature of his father (Samuthirakani), a little too late.

In the scene where Chakravarthi experiences an epiphany that he has been misunderstanding his late father his whole life and holds his bruised feet, Bhaskaran wanted to communicate the character’s change of mind using light. “I tried to use sunlight on Siva sir’s face moments before he holds his father’s feet. Yaarathu notice pannirundha therinjirukkum,” he says with a smile. Bhaskaran adds that the set had a heavy atmosphere while it was being shot. “When Siva sir broke down, I pulled back from the viewfinder for over ten seconds as even I was in tears.” 

While the film continues to play in packed houses, having emerged as one of the biggest hits of the year, the best compliments for Bhaskaran have come from close quarters. “My eight-year-old son has never seen a film in a theatre with us, but he wanted to watch Don. Initially, I thought he wouldn’t come as he doesn’t enjoy the theatre ambience, but on release day, he woke up at 3am and came with us to catch the FDFS.

After seeing it, he told me that he really liked the film. It was the first time I watched a film with him in a theatre. Athu periya compliment. Likewise, members of my extended family appreciated the film and asked me to arrange a private screening for the whole family. Everyone, be it kids or adults, are shedding tears while watching the film; I don’t know if there can be a bigger compliment.”