The Ashiq Abu Interview | 'Humans Are Wired To Connect With Stories'

AASHIQ ABU has been among the pillars of Malayalam cinema’s New Wave, along with his peers from the Kochi belt, also Maharaja's College alumni — Anwar Rasheed, Amal Neerad, Rajeev Ravi et al. It was during the turn of the last decade that Malayalam cinema, at a dead end with mindless potboilers headlined by superstars, finally witnessed a reinvention spearheaded by this group of young cinephiles, armed with new themes, realistic characterisations and plausible milieus, speaking the language of simplicity.

Aashiq — a director, occasional actor, producer and artist — has a filmography suggestive of an openness to risk-taking and experimentation with genres. Neelavelicham, now in theatres, is his 13th film; it sees him try horror for the first time. Edited excerpts from a conversation:

Can we call Neelavelicham your passion project?

Yes, I think you can call it something of that sort. I wanted to do films in different genres. Horror was especially on my mind for the longest time. During my conversations with Syam Pushkaran [the writer] and others, we would talk about the irrationality of having a ghost around. That left me confused and sad. So my scientific awareness dissuaded me from making a horror film. Then one fine day, very coincidentally I stumbled upon the screenplay of Bhargavi Nilayam. My reading has become very restricted these days and I only read screenplays. After all, we are in the habit of reading microblogs now.

What surprised you about Vaikom Muhammed Basheer’s screenplay?

I read the 16th edition of DC Books’ Bhargavi Nilayam. I was stunned by the details — colours, sounds of animals and birds — everything was so amazingly minute [in description]. But since technology hadn’t developed that much back then, it wasn’t easy to percolate such details on screen. What if I reimagined the film now? My horror film dream will be fulfilled. I was also fascinated by the foreword given by Basheer: “A bubble of wonder! I tried to puncture that using the needle of science. But I couldn’t. Maybe you can try it!” That aligned with my idea of science. I got Hrishikesh Bhaskaran who is also a researcher and an avid Basheer reader on board for the additional screenplay.

Then you saw the film?

I have seen the film several times over. The film and the script are source materials, along with other works of Basheer. In BN, Basheer was involved directly and was on the sets during the shoot. After 59 years we are envisaging a Basheerian world without Basheer. And we can only think from a romanticised lens when it comes to stepping into the Basheerian world.

What are the tweaks you have given to the new version?

In Bhargavi Nilayam, he says he is only a novelist. He never calls himself Basheer. But we have given more flavours of Basheer to him, be it his appearance or manner of speaking. In Madhu Sir (who played the part in the original) you can’t see many obvious Basheerian traits in him. Here we have tried to incorporate Basheer’s playfulness. Bhargavi Nilayam was the first genre-blended film back then.

How has Basheer influenced you as a creative individual?

I have grown up reading him. Though I haven’t really revisited any of his books, Neelavelicham was always an exception. It never left my mind. And much later I realised that Bhargavi Nilayam was based on this. I think every Malayali is influenced by Basheer in some way or the other.

As a filmmaker, what surprised you about Bhargavi Nilayam?

The film itself was a marvel. Imagine making a multiple-film genre with so many special effects during that time with a large star cast! The first element that hooked me was the writer interacting with the spirit through a song. A complicated but outstanding cinematic work indeed.

Your actors kept changing from the time it was announced.

Initially, Prithviraj, Kunchacko Boban, Rima Kallingal, and Soubin Shahir were there. Since Basheer was a wrestler and took care of his body, we thought Tovino would fit the bill. Besides, he wanted the most handsome actor to play his part.

What was your biggest fear and challenge while taking on this project?

My biggest fear was remaking such a huge, iconic film. Since cinema ultimately belongs to the people, I could foresee their emotional responses. Though we all love the film equally, I knew reimagining Bhargavi Nilayam could be dicey. But the ultimate emotion remains excitement.

Your first period film, what was the vibe on the sets?

The art director did a lot of research for 6-7 months and created a Bible for the film. I handed my team the screenplay to read. Rain was a spoilsport but still exciting and happy [sic]. Acquiring vintage cars was difficult. We might get them, but they would perhaps drive for only 10-15 km. So the transportation and other logistics weren’t easy.

What did you learn during the making of your first horror film?

From my experience of having directed so many films, I was under the impression that it is easier to direct a single actor in a frame. But on the contrary, it was difficult to shoot a single actor inside a house. So far I have found it difficult to shoot with a crowd and fight sequences. But this was more arduous and time-consuming. There was so much learning and unlearning. Excitement is a notch higher than fear. To reimage from the great writing material and add the science of today was exciting.

Why did you want to recreate the songs?

A lot of songs were based on Basheer’s works. That we found out later. Bhaskaran master took the concept and made it into a song. Every song is so interlinked to the script that it will knock off the essence of the film if we omit them. When you have such songs, why not try them? I think when MT Vasudevan Nair and John Paul were planning to do Neelavelicham, they also thought of including the songs.

When do you decide to produce a film?

I should primarily like the idea and the team and also check if their idea has some loopholes. Even while directing a film before I was pretty hands-on on the production side. So were my peers. We decide after looking at the economics of it. There is no sure-fire formula for success.

Is it easier to make a film when you are able to connect to the story in some way?

Yes, and it needn’t be based on real life, just [have] an element I should be able to connect to. If you are able to communicate with your imagination, that’s enough. Not necessary that everything should be based on your surroundings or the stuff you grew up on. We felt an emotional connection with Avatar. I think as humans we are wired to connect with stories.

I am curious to know about your process with writers.

It starts with an idea. We start a camp and that’s where all the writings, discussions, and rewritings happen. With us, it is never about getting a bound script and starting shooting. Sometimes we get a full story and then rework it. I will be involved in everything. Actors come after pre-production and their contribution is crucial to the sets.

How much are you willing to take film criticism?

I take whatever I want. [Which is] something that benefits me. If I don’t take criticism seriously, I will be a fool. I read everything on social media and [by] other professional critics. Naturally, I am curious to know what people think about my cinema, which is made for them. And that is there on my mind when I do something. I will take it and process it later subconsciously in my next work.

Isn’t it hard to take it though?

See, I think just living every day itself is difficult. Nothing is easy for anyone. I admit, I used to be bothered during the initial phase of my career. But after a point, we earn immunity. That is not to say that negative criticism doesn’t affect me, but immunity helps in processing it differently.

Which was that one film’s failure that broke your heart?

Gangster impacted me. I don’t really consider a film a failure based on its box office performance. For example, Rani Padmini didn’t work big time at the box office but it will always be my favourite. So many people loved it.

I think it ticks several aspects of you as a person maybe.

Yes. After Syam Pushkaran’s accident, we took a trip to the Himalayas and wrote there. There were so many elements in it that closely connected with us.

Do you take a while to move on from failure?

Of course, I can’t ignore it. I do spend a lot of time ruminating over what went wrong. After Gangster, I did — and I never repeated it again. I think I was lazy as a filmmaker. I should have taken our audience more seriously. I would love to make a full-fledged action thriller like that again.

When did you decide that direction could be a potential career option?

I think it was when I was doing theatre in college. In 1998. There was an IFFK in Kochi and Life is Beautiful was the opening film and that changed the course of my life. In 2002 after post-graduation, I worked as director Kamal’s AD for five-and-a-half years.

Was it easier to get your first film?

Not really. Mammootty was instrumental in [helping in] reaching there. When I was in college, he used to notice my work. We made a campus film, and he helped broadcast it. I worked in two of his films (Raapakal and Karutha Pakshikal). He also liked a music video I did. It was a period of constantly trying to get myself noticed and that’s how Daddy Cool happened. Like everyone else, I struggled to get my first film. Nothing more or nothing less.

Looking back, what’s the first emotion you feel?

Super happy and satisfied.

Neelavelicham is your 13th film. And it is a horror film.

Oh is it? Fingers crossed!