Priyadarshan on MT Vasudevan Nair’s Manorathangal: ‘I was jealous of Bharathan, Hariharan because…’ | Exclusive

It had been an unaccomplished dream for one of Malayalam cinema’s greatest directors, Priyadarshan, for the past 40 years – to collaborate with another one of its doyens, MT Vasudevan Nair. So much so that the acclaimed filmmaker had almost given up realising the dream in his career. But during the pandemic, when MT’s daughter Aswathy called him to inform him that the legendary writer wanted Priyadarshan to helm a film based on one of his short stories for an anthology titled Manorathangal, the pieces were finally falling in place.

In a candid interview with OTTplay, director Priyadarshan opens up about what helming two segments – Olavum Theeravum and Shilalikhithangal – in the upcoming ZEE5 anthology, meant to him and more.

You have waited for over three decades to work on a script by MT Vasudevan Nair, and in this anthology you are the only filmmaker to have helmed two featurettes. How satisfying was that?

I first decided to become a filmmaker when I read the published screenplay of Olavum Theeravam, which my father had. I was in Class 10 back then and I had spent an entire Vishu day reading it. Every line propped a visual in my mind and I had conceived a film after I was done with it. That was the first time in my life that I felt that I wanted to direct a film.

Also read: Mammootty-MT Vasudevan Nair's emotional moment at Manorathangal trailer launch wins the internet | Watch 

But the movie was already made. That said, the inspiration stayed with me and I started watching movies of masters like Satyajit Ray and commercial movies. I became a film student because of the screenplay of Olavum Theeravum.

When I became a director, it was my biggest dream to see a poster that said, ‘Directed by Priyadarshan, Written by MT Vasudevan Nair’. I knew that I was making commercial films and comedies, but the best recognition that I could never get was doing a film with MT sir. I tried so hard to do one but it never happened. I used to be jealous of Bharathan, Sibi (Malayil), IV Sasi and Hariharan; they were all lucky to work with him. I tried several times but nothing worked out. So, I gave up thinking it was not meant to be.

For me, MT sir is my ultimate guru, who taught me how to write Malayalam - the beauty of this language. For me, he was my Dronacharya and I was Eklavya. His screenplays showed me the depth of writing and his biggest gift was how to make you feel without saying things. In all dialogues, between those lines, there’s a pregnancy of another meaning.

How did this project materialise?

I had initially picked another short story but that didn’t work and that’s when MT sir suggested Shilalikhithangal. He said some feel it’s a very complicated screenplay but he urged me to make it into a film. I read it and got thrilled.

I have always thought that when I got a chance to turn MT sir’s screenplay into a film, I wanted that feel of Nirmalyam and the inherent emotions that exist in a family - its bonds and breakings. That’s why I took up Shilalikhithangal, which I consider my best film after Kanchivaram. I did it with so much passion with Biju Menon. We got everything right, from the casting to the performances.

You are also the only director to helm two segments in the anthology. What led to Olavum Theeravam, starring Mohanlal?

Once I had completed work on my first segment, they said they wanted Mohanlal to also be part of the anthology because all the other leading actors were starring in it. Without him, it would not be complete.

Also read: Manorathangal: All about the Mammootty-Ranjith segment Kadugannawa Oru Yathra 

So, I asked Lal to be part of it. He had recommended me to MT sir several times for us to collaborate at least on one script; he knew it was biggest dream and he said he will give me his dates whenever MT sir gives me a script. Somehow, it didn’t happen. So, when this opportunity came, I told him that I would like to remake Olavum Theeravum. Both MT sir and Lal told me that it might not be relevant anymore, even though it was ahead of its time back then. But Lal also assured me that he will abide by my decision because he knew it was a big deal for me.

But why shoot it in black and white?

Yeah, so when MT sir said that he feels the story might be belated, I told him that I will depict the time that it was set in, so people won’t feel odd about it. That’s why it’s a period film. If I had set it in today’s era, it might not have any relevance. So, it’s like Schindler’s List or Bicycle Thieves, where the story is made all the more relevant due to the time period it is set in. But MT sir wasn’t convinced because it involved a huge budget. So, I told him that I will come back a day later.

I discussed this with (art director) Sabu Cyril, who said let’s make it as a period film because it will also be a nostalgic experience for everyone involved. He said he will recreate the time period. So, MT sir then proceeded to re-edit the original two-hour screenplay and brought it down to 50 minutes. When we shot it, it was about 55 minutes. On his 90th birthday, which also happened to be our last day of the shoot, MT sir came to the sets and watched me film the entire day. We shot the movie in five and half days, thanks to Mohanlal, Santosh (Sivan) and Sabu.

I wanted it to be the first black-and-white film in this era, but Bramayugam had released. But at least I made the first attempt.

As someone who has read the original screenplay of Madhu’s 1970 film Olavum Theeravum and watched the film, how do you make sure that your vision is different?

I actually haven’t seen the film in its entirety, I had only read the screenplay. I was too young to go to the theatres when it was released. One thing I realised when I watched the bits and pieces of the movie on YouTube, was that, with all due respect to its filmmaker PN Menon, was that I could shoot the movie exactly as I visualised when I first read the screenplay because technology has advanced by leaps and bounds now.

It was nostalgic for all of us. When I asked Mammukoya to play Mammadikka, he told me that his life was complete now because he remembered watching the original movie being shot and never in his wildest dreams did he think he would be playing the role essayed by Pariyanampatta. It’s unfortunate that it also turned out to be Mammukoya’s final movie.

So, I think it was destined to happen for all of us. I am happy that I can finally see a title card with Priyadarshan and MT Vasudevan Nair on it. I don’t need anything more. 

It must have been extremely satisfying for you to show your range as a filmmaker with two extremely different segments because Shilalikhithangal is nothing like Olavum Theeravum.

With Shilalikhithangal, I have taken the same approach as Kanchivaram and Sila Samayangalil. I learnt films from my gurus and I have always loved filmmaking. I never thought that I would make only a particular kind of film. Everytime I get a subject, I look at it from different perspectives. The past 40 years and 97 films, I have always moved forward with the same mindset because that’s the only way I know. Filmmaking is the only thing that I am passionate about.

Manorathangal, which is anthology featuring nine segment directed by eight filmmakers and has actors such as Mohanlal, Mamootty, Fahadh Faasil, Parvathy Thiruvothu and Asif Ali as part of its cast, will begin streaming on ZEE5 from August 15. It will be available on OTTplay Premium.