Home » Interview » Exclusive! Asif Ali: My costume in Mahaveeryar solved half the task of getting into the character of a prime minister
Exclusive! Asif Ali: My costume in Mahaveeryar solved half the task of getting into the character of a prime minister
The Malayalam actor, who shares screen space with Nivin Pauly after almost a decade in Abrid Shine’s Mahaveeryar, talks about his initial concerns and what he enjoyed most while doing the film
Jul 22, 2022
Asif Ali as Veerabhadran in Mahaveeryar
In his career spanning a dozen years, Malayalam star Asif Ali has burnt his fingers by taking up some challenging roles that he couldn’t ace. So, it’s understandable that he warily approaches certain characters now. That was also his initial reaction when director Abrid Shine came to him with the role of a 17th century prime minister in the fantasy courtroom drama Mahaveeryar, which had Nivin Pauly playing an ascetic. The actor though has now been lauded for his role and didn’t feel out of place at all, in the movie that tackled a hitherto unseen genre and concept in Malayalam.
OTTplay exclusively caught up with Asif, on the sets of his film A Ranjith Cinema in Thiruvananthapuram, ahead of the release of Mahaveeryar to know about his initial concerns, challenges and how much he enjoyed doing the movie once he came onboard.
When somebody says a warrior from the past, especially in a Malayalam film, you’d think of those characters from movies based on North Kerala ballads. But your character Veerabhadran from Mahaveeryar has got a totally different look.
Shine chettan came to me with this story when my schedules were jam-packed, especially after the lockdown. I told him I wouldn’t be able to immediately do the movie. He asked me to take a call after I heard the narration. The previous day, I had a missed call from Nivin, so I connected the dots. Shine chettan then told me the story of a crime committed by a king and his prime minister, and the case hearing will be in the present. I told him I didn’t grasp it well. So, the next day, he came to me with the complete script, which I read and I still didn’t understand. In fact, the language that my character speaks itself is different; it’s Malayalam but it’s archaic. So, when I am reading the script, what I am most worried about are the lines that I had to say. I could see myself struggling to learn the dialogues.
Then when I think of a minister, I also visualise the North Kerala ballads. So, Shine chettan took out his iPad and showed me the costume references. I had my doubts about how practical it was for a Malayalam film, but he was determined; if he decided to do something, he will do it. He called Chandrakanth Sonawane, who was in charge of costumes for Sanjay Leela Bhansali’s Padmaavat and Bajirao Mastani as well as Ponniyin Selvan, and made him talk to me. He then got India’s best wig-makers from Chennai to do trials for my character. So, I decided to do the film after he showed me the entire attire. I am always a bit insecure about my stature, especially because Lal sir was playing the king. People wouldn’t even see me if I am by his side.
The attire was regal though and almost warrior-like.
It took about 45 minutes to fix the attire, which was also heavy because it was entirely leather. It took another hour to do the hair and make-up. I didn’t feel the difference while we were shooting in Jaipur because it was cold. But in Tripunithura, where we shot the courtroom portions, both Lal sir and I were dripping with sweat the entire day. We had those boots with big heels and so over time, our posture was upright and almost royal when we were walking. I felt weird every time the shoot ended for the day and I took off the costume to get into a t-shirt and shorts. I think the attire solved half the challenge of getting into the character.
Even the locations of the film are much different from the period films we have seen in the industry.
Shine chettan has taken so much effort for the movie. The locations of the movie were in Jaipur; we had shot in Amber Palace and Jal Mahal. The dialogues were all well written; in fact, there was absolutely no room to improvise in the script. There was this fire in all of us to ensure that rather than just memorising and mouthing the lines, we had to feel what we were saying. My major combination in the film is with Lal sir. The courtroom portions also take a lot of time with the proceedings being presented. Mahaveeryar has a beautiful narrative. I think we can show this movie to the world and say that it represents Malayalam cinema. It has an innovative thought and screenplay, and it’s an altogether different attempt from the kind of films that he had done earlier.
You worked with Nivin after a gap of almost a decade in this film. How was that experience, considering both of you started your career together and are now leading actors in the industry?
We are doing a movie together after nine years. I usually end up meeting other actors at some events or functions, but not Nivin. It’s probably because he’s a bit of an introvert and prefers sticking to his circle. I get to know about what’s happening with him through Aju (Varghese). So, the meeting actually happened during Mahaveeryar’s shoot. So, more than a friend, he was also the film’s producer and that gave me a lot of joy. Both of us started our careers together and I am now acting in a film with him that he’s producing. Gradually, we could reconnect and share that vibe we had 10 years ago. We had fun at the film’s location and he himself had told me that it was after a really long time that he enjoyed doing a movie.
The movie also has a good and fun mix of actors including Siddique and Lalu Alex.
We shot the court portions in Kalikkotta Palace in Tripunithura. So, during the break, all of us would sit in a circle and discuss stories. The comedy was that there would be a lot of lawyers, a king, a minister and soldiers. When people from outside would come to the sets, they would immediately notice the contrast.
It's a genre-bender with elements of fantasy and time travel. Did that happen because of the pandemic after which there is more room for experiment?
No, it’s based on M Mukundan sir’s short story. Shine chettan had conceived it as a big project even before the pandemic. There’s a message in it that is relevant especially when there are so many issues concerning women right now that are being discussed. This is presented as a satire.
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