PremiumDirector Meher Ramesh: Bholaa Shankar is more entertaining and emotional than Waltair Veerayya | Exclusive
The Billa, Kantri filmmaker firmly believes that the Chiranjeevi starrer will be his career-defining film
Meher Ramesh on Bholaa Shankar
Last Updated: 11.34 PM, Aug 08, 2023
Bholaa Shankar, the Chiranjeevi, Tamannah, Keerthy Suresh starrer is an acid test for Meher Ramesh as a director. The odds are stacked against him and it’s imperative for him to rise and regain his ground in the industry. For his ‘make or break’ film, he’s chosen to remake Ajith’s Vedalam with considerable changes.
For someone who has successfully remade films like Don, Okkadu (besides directing the Kannada version of Andhrawala simultaneously), Meher Ramesh is confident that he has an entertaining commercial cocktail that’ll please fans and family audiences alike. All that and more in a chat with OTTplay.com
Remembering the first day Bholaa Shankar went on floors…
Bholaa Shankar’s shoot took off on November 15, 2021, there were over 700 junior artistes in a Rs 3 crore-worth set recreating a street. If one may have noticed it in the promos already, it’s the scene where Chiranjeevi sports a black shirt and arrives in a jeep. Generally, scenes of such scale are shot much later. It commenced on a ‘grand’ note, just how the film of a ‘mega’ star ought to begin.
‘The shoot was like a picnic’
The shoot was like a picnic and it felt like I was living my dream (even this interaction). Half of the film was done with the energy he brought to the set, his response to the characterisation, styling and costumes. He reacts as per the vibe of the director - he senses what a filmmaker wants from him. The shoot began much before Waltair Veerayya; we wrapped up the flashback portions earlier.
Being born in the same family as Chiranjeevi, growing up with his films, observing him, turning a director, earning his nod for a project and winning his appreciation on a set - I must have been blessed to have experienced all this. Working with Chiranjeevi on Bholaa Shankar may be the reason I turned a director. Everything else I get in life is just a bonus.
Getting Chiranjeevi to feel comfortable on sets, preparing well
I was witness to the efforts he put into Waltair Veerayya. When he’s on sets, he transform the ambience of the sets. He doesn’t go to the caravan in between breaks. Most of his scenes revolved around comedians; they had a vibe together and he enjoyed interacting with them, getting lunch for them. He didn’t feel like he was working and felt very comfortable.
Chiranjeevi was surprised that I finished this film so quickly. Pace is one of my strengths. I shot Billa and released the film within four months; something unimaginable for a project of that scale. We finished shooting for Bholaa Shankar in 120 days over a couple of years. Thanks to our preparation of the crew, the shoot was like a breeze and progressed smoothly despite many night schedules.
Taking Chiranjeevi’s inputs for the film seriously
It’s impossible for any director to make a film without his approval. Only if he’s convinced with everything, will he shoot for a scene . The kind of encouragement he gives us if we try anything new is so energising, be it his mannerism, body language, dialogue delivery. There were many instances where he infused magic into a sequence too. We (I, Satyanand, Kannan) gave him over 10-15 options for every scene and he used to pick the best of the lot.
Why, the remake of Vedalam?
When we think of Chiranjeevi, we refer to him as ‘annayya’ - the big brother. I think the story brings out that brotherly quality in him. Irrespective of trends and technological advancements, the bond between a sister and a brother won’t change. The story has a bit of everything - family emotions, dual shades in the lead character, comedy, action.
It revolves around female trafficking and when we blend it with brother-sister sentiment and adapt it according to times, there’s a good chance to impress audiences. The second half has undergone a considerable change in this version according to Chiranjeevi’s strengths. Though the core premise is the same, it is 60-70% different from Vedalam.
Did you experience any rustiness when you directed a Chiranjeevi film many years after Shadow?
I was working on many scripts these years. When Chiranjeevi decided to return to films, my first priority was to direct him. I felt he returned for me and even I would make my comeback only with him. For someone living under a shadow, a ‘mega’ light had brightened my life. He could have easily chosen more successful filmmakers.
Be it me, Bobby or Mohan Raja, he didn’t judge us by our past but our approach to a script and gauged our worth. Working on a big film comes with a lot of responsibility and it’s upto us to handle it carefully. When it comes to work, he is effortless with his craft. He has worked on four movies in two years and adapted to the mood of the film.
Why do a remake film when a viewer is aware of the plot already?
In 1980s, when audiences used to vigorously read books, they enjoyed watching book-to-film adaptations like Abhilasha, Challenge, Akhari Poratam despite knowing how the plot would progress. This is generation that has grown up on films more than books. Similarly, Billa was the sixth remake of a story originally written by Salim-Javed.
When everyone had used a variation of Khaike paan in all the versions, I brought in a stylish dance number like Bommali - that was my take as a director. I made the Kannada versions of Andhrawala and Okkadu a huge success. Okkadu’s Kannada remake Ajay was made under Rs 3 crore. Taking up a remake is a huge challenge any given day.
Keeping the industry, media crowd aside, only a minuscule percentage of audiences in a theatre would’ve watched Vedalam. Ultimately, when I have a story that’ll suit Chiranjeevi’s stature, know how to adapt it for audiences and entertain them, I don’t think anything else matters. Chiranjeevi and all of us liked the story of Vedalam and we’ve given it a treatment on the lines of Rowdy Alludu, Gharana Mogudu. You’ll be satisfied as a fan but still get something new.
Roping in Mahati Swara Sagar for the music
Mani Sharma is the ‘mega star’ among music directors and he’s naturally the first choice we’ll have for a Chiranjeevi film. The Chiranjeevi fan of the 80s, 90s are now parents to a child, who’re also his fans. Chiranjeevi is the same - his fans have changed. Anirudh Ravichander is giving music to Rajinikanth, Kamal Haasan’s films; is it because of a shortage of composers in Tamil?
There’s a new generation of music lovers today and they are our ticket buyers. As a composer and a programmer, I know the worth of Mahati Swara Sagar. I was confident that he could recreate the magic of Mani Sharma in the 90s, 2000s. Chiranjeevi didn’t even blink and approved my decision. Today, I can say that he lived upto our expectations and trust with the songs and background score.
On integrating the references of Kushi, Choodalani Vundhi, Rangasthalam into Bholaa Shankar - necessity or indulgence?
We don’t make films for naysayers but to entertain. If you’re asking this question, it means that the references have a made an impression on you at some level and I’ve struck a right chord with viewers. I’ve succeeded in creating a distinction between Bholaa Shankar and other films of Chiranjeevi. Kolkata is a backdrop that was a part of the original too. The references - like Kushi, Choodalani Vundhi, Rangasthalam - are only to amp up the entertainment quotient.
Bringing Keerthy Suresh on board
I was worried Keerthy Suresh wouldn’t accept it; I approached her through Swapna Dutt, explained the importance of her part and got an appointment. Keerthy hadn’t watched the original and when I gave the dialogues, narration, she was teary eyed. She immediately said yes. We needed a ‘mega’ actress who could match upto Chiranjeevi and we couldn’t have asked for anyone better.
The USP of Bholaa Shankar
The sister sentiment is the highlight of Bholaa Shankar. It is more entertaining and emotional than Waltair Veerayya. I’m not comparing it to other films of Chiranjeevi like Godfather, Sye Raa because they belong to different genres. I’m sure it’ll entertain the majority of audiences. If not August 11 or this weekend, it’s a film you will enjoy with your families. We’ve repackaged the energy of Chiranjeevi of the 90s to a new generation.
While filmmakers are repackaging Chiranjeevi’s avatar of his Gharana Mogudu, Rowdy Alludu days, are we missing the point that he was the same actor who was a part of films like Abhilasha, Rudraveena, Subhalekha and a Swayamkrushi?
If an Abhilasha, a Subhalekha or a Swayamkrushi releases today, we’ll call it a good film, but many of them wouldn’t want watch it in theatres. Generations have changed. Would Swathimuthyam draw crowds to screens today? Even a Kamal Haasan had to hold a gun and star in an action film like Vikram to give a blockbuster. Only when a film has action and the right commercial ingredients, it’ll do well at the box office. Our industry is at a position where it cannot afford such experiments.