In a chat with TNM, the ‘C/O Kancherapalem’ director talks about his second film ‘Uma Maheswara Ugra Roopasya’ and choosing Satyadev to play Fahadh’s part.
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In 2018, with a quaint film set in a sleepy town in Vizag, director Maha Venkatesh gave Telugu audiences a story that brought with it a wave of change for Telugu cinema. C/O Kancherapalem came as a breath of fresh air with its four heart-warming tales of love and 86 debutants in the cast. Maha won critical acclaim for the film, which went to multiple film festivals across the world.
Maha is now all set to release his next film Uma Maheswara Ugra Roopasya in April this year. An official remake of Maheshinte Prathikaram from Malayalam, Maha’s second film has actor Satyadev reprising the role of Fahadh Faasil from the original. Praveena, the producer of C/O Kancherapalem, is co-producing the film along with Mahayana.
Omnisphere 2 crack. A bitter-sweet revenge story, Maheshinte Prathikaram is still etched in the memory of the Malayali audience for its delightful portrayal of the lives of the common people in Prakash, a town in Kerala’s Idukki district. Maha’s Uma Maheshwara Ugra Roopasya is set in Araku, a hill station situated in Andhra Pradesh, another small town like Kancherapalem, close to Vizag.
Maha calls UmaMaheswara an “intern project”, a film before his next big budget directorial that is on the cards.
“I came across Maheshinte Prathikaram during the post-production of C/O Kancherapalem. I really liked the film and had then decided that if I ever get a chance to remake a film, this would be my choice,” Maha tells TNM.
In a candid chat with TNM, Maha tells what made him go for a remake after the phenomenal success of C/O Kancherapalem (for which he had written the script too), on choosing Satyadev to play Fahadh’s part, and why it is not right for directors to underestimate the audiences’ intelligence.
After a movie like C/O Kancherapalem that was hailed for its raw and novel content, what made you choose a remake of a Malayalam film for your next?
When I first watched Maheshinte Prathikaram, I thought this was something that should be made for the Telugu audience. I didn’t immediately want to make a remake, but thought if I ever get a chance to do one, this would be my choice.
In 2018, we made Kancherapalem with hardly 15 members in the entire crew. So my plans next were to make a moderate budget film which had a larger cast and crew. My next directorial is a big-budget movie, so I wanted to make an in-between movie, which wasn’t as small as Kancherapalem and also not as big as my next movie would be. I gave Praveena all the scripts I had written but nothing fitted the budget bracket we had in mind. That’s when Praveena asked if I wanted to do any remakes and Mahesinte Prathikaram was my first choice… UmaMaheswara will be our intern project for making a bigger film.
Remakes come with a lot of challenges, especially when the original is a celebrated movie. So what made you pick a tough one like Mahesinte Prathikaram?
This is the first question that Praveena asked when I suggested Maheshinte Prathikaram. But it’s been three years since its release and no one has picked it up yet for a remake. I met Dileesh Pothan and Syam Pushkaran before making the film and came to know the movie was inspired by a true event that happened in Idukki. So I took the screenplay as it is and tweaked it a bit to suit the sensibilities of Telugu audiences. But let me tell you, Satya is going to look very different from Fahadh in Maheshinte Prathikaram. This is Maha’s Mahesh and I have added bits to the screenplay from my experiences of staying at Araku.
Also, comparisons to Kancherapalem should be drawn with my next film, which is my original content. Uma Maheswara is my directorial project and it is told purely out of my love for its original version.
Fahad Fazil in Maheshinte Prathikaram
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Maheshinte Prathikaram is a movie that gave a lot of importance to its geographical location and the culture of the people in Idukki. Does Uma Maheswara also follow the same course?
The nuances in Maheshinte Prathikaram are tiny; one needs to understand the culture to realise why Syam has added a particular bit to the script. During the pre-production of the film, I used to clarify my doubts with my cinematographer who is a Malayali. Also, the film in Malayalam is a little dramatised. So, wherever I wasn’t able to add more than what Syam has written, I added my style of filmmaking to it. Talking about cultural nuances, so far for our audiences Araku has been a place where actors go to dance between trees and flowers, but after watching Uma Maheswara, Araku is never going to be the same place for them ever again.
After Kancherapalem, you could have chosen any big name to play Maheswara’s character. How did Satyadev come into the picture?
I wanted a person who looked like a layman to play Uma Maheswara’s role. If I throw Satya into a crowd, it’d take people some time to notice that he’s an actor. While making casting choices for Uma Maheswara, we had written down 52 names that would fit the bill for the lead actor. We started striking off one name after the other and finally zeroed in on Satyadev, who was also my first choice for the role.
After Kancherapalem, small budget films have been working extremely well with Telugu audiences. Do you think the next wave of change in Telugu cinema is finally here?
Audiences are now like the spectators of a football match. They know when it’s a foul and when it’s a goal. They know what is coming up next. And so do our movie viewers who are tired of redundant movie plots.
The success of small films like Brochevaevarura, Agent Sai Srinivasa Athreya clearly points to one thing: that our audiences are not dumb. They are craving new content. I wouldn’t say small films come without flaws. For example, C/O Kancherapalem lacked technical sophistication. But the audience accepted it for its novel content. I think we should stop questioning a viewer’s intellect. Audiences are much more intelligent than directors think them to be.
There have been a slew of remakes in Telugu cinema, most of them tanking at the box-office. Why do you think Uma Maheswara will be different?
Whatever I have done for Uma Maheswara is from the perspective of the audience. And not just the Telugu audience, something that will have a universal appeal. I started my career in films being a part of the audience. I grew up in Vijayawada where they were close to 30 theatres and I used to watch a film every single week. I think we’re confident of having done a good job because at no point have we questioned the intelligence of the people who will be watching the film.
With Uma Maheswara, is there a fear of being stereotyped as a director who chooses only slice-of-life subjects?
I don’t have that fear since this is only my second film. My third film is going to be a different setup where you can label it neither as an urban nor a rural film. I am also collaborating with a friend of mine who is doing a proper urban film. Whatever you have seen in Kancherapalem or will be seeing in Uma Maheswara, none of that would be there in my next film.
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Maheshinte Prathikaaram | ||||
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Soundtrack album by | ||||
Released | 1 January 2016 | |||
Recorded | 2015 | |||
Genre | Film soundtrack | |||
Length | 14:31 | |||
Language | Malayalam | |||
Label | Muzik 247 | |||
Producer | Bijibal | |||
Bijibal chronology | ||||
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Maheshinte Prathikaaram is the soundtrack album for the 2016 Indian film of the same name. The album was composed by Bijibal, features four songs and was distributed by Muzik 247, which released on 1 January 2016.[1] The album received positive feedback from music listeners.
Production[edit]
About the development and concept of 'Idukki', Pothan said that the song helped him introduce the audience to the story's locale: 'It was the plot of the movie that came to my mind first. Then I decided to fix the milieu in Idukki. Not all viewers may have been to Idukki'. According to the director, 'A person from an urban setting may not go on to take revenge like what the central character does in Maheshinte Prathikaram. Hence, I had to convey the lifestyle of [the] Idukki people to the audience'. Lyricist Rafeeq Ahammed said that he had never visited Idukki or felt deeply about the district. He asked friends in Idukki: 'They told me that they wanted a song that captures the beauty of the place. It is one of the beautiful places in Kerala embellished with forests and rivers'.[2] The music was composed after the lyrics were written; Ahammed wrote the song as a poem in one day. According to Bijibal, it was easy to compose 'Idukki' because it had such 'motivating lyrics'. He originally recorded the song with a small orchestra, singing it himself. The composer later recorded another version with a lush orchestra; however, Pothan thought it lacked the beauty of the original and used the first version in the film.[3]
In addition to her role as Jimsy, Aparna Balamurali sang 'Mounangal' with Vijay Yesudas. At her audition, she also sang. Aparna was recommended by Pushkaran's wife, who is her university instructor. According to the actress, 'I was made to sing while at the set quite frequently. Later, it must have struck them that it is a good idea to give me a song'.[4]
Music video[edit]
The video of the first song, 'Idukki' (featuring Fahadh Faasil) was released on 1 February 2016. It was sung by Bijibal and written by Rafeeq Ahamed. The song, which begins with the line 'Malamele Thirivech', describes the beauty of Kerala's Western Ghats. The song video of 'Theliveyil' sung by Sudeep Kumar and Sangeetha Sreekanth, which released on 4 February 2016; was set at a funeral ceremony as its backdrop and begins with a brief vocal by children.[5][6] The video songs of other tracks 'Mounangal' and 'Cherupunjiri' was released on 5 and 7 February.
Reception[edit]
Malayala Manorama placed 'Mounangal' at number one on their Tunes Weekly for 12 February 2016. According to reviewer Nelson K. Paul, 'Composer Bijibal perfects this one with the finer layers—of clarinet, of saxophone, of violins, of guitars, of sitar, to name it all—added in. These elements blend in the right proportions to produce a rather affecting song. Vijay Yesudas and Aparna Balamurali make no mistake behind the microphone. The loop before the charanam is musically rich with the enchanting association of the instruments mentioned above. Class act by the composer, once again'. Although Paul called 'Idukki' the film's best song, he also found 'Mounangal' charming.[7] He praised Bijibal for his work on 'Idukki': 'His brilliance, as a composer and singer, is in display in the 'Idukki' song. The composer-singer gives Rafeeq's simple, smile-evoking lyrics the right treatment, keeping to minimal instruments while executing a soulful rendition. He is ably backed by the wonderful female chorus. Even without the visuals, one would long to feel the beauty of Idukki'.[5] Elizabeth Thomas of The Hindu described the song: 'We feel like standing right in the middle of the hilly terrain. As the song goes on describing Idukki, its people, and their lifestyle, we sway and swoon along, feel the mist and greenery and as the song ends, we become one with the place and its people'.[2]
Track listing[edit]
All lyrics are written by Rafeeq Ahamed, except 'Cherupunjiri', which was written by Santhosh Varma.
No. | Title | Singer(s) | Length |
---|---|---|---|
1. | 'Idukki' | Bijibal, Chorus | 03:51 |
2. | 'Theliveyil' | Sudeep Kumar, Sangeetha Sreekanth | 02:37 |
3. | 'Mounangal' | Vijay Yesudas, Aparna Balamurali | 03:42 |
4. | 'Cherupunjiri' | Nikhil Mathew, Bijibal | 04:21 |
Total length: | 14:31 |
Background score[edit]
Utorrent Movie Download
Maheshinte Prathikaaram | |
---|---|
Film score by | |
Released | 29 February 2016 |
Recorded | 2015 |
Genre | Film score |
Length | 19:40 |
Label | Muzik 247 |
Producer | Bijibal |
The original background score for Maheshinte Prathikaaram composed by Bijibal was released on 29 February 2016 for digital download by Muzik 247. It consists of a total of nine tracks.[8][9]
No. | Title | Length |
---|---|---|
1. | 'Maheshinte Chaachan' | 01:47 |
2. | 'Kumbilappam' | 01:17 |
3. | 'Pookaalam Kaiveeshi Vidaparanjupoyi' | 02:00 |
4. | 'Jimsone Thedi' | 03:02 |
5. | 'Jimsy Is Beautiful' | 00:53 |
6. | 'Kadayalla Studio' | 02:21 |
7. | 'Photography Padippikkan Pattilla' | 04:13 |
8. | 'Chettan Superaa' | 02:25 |
9. | 'Snap For Manjadi' | 01:42 |
Total length: | 19:40 |
References[edit]
- ^'Maheshinte Prathikaaram'. Saavn. 1 January 2016. Retrieved 1 August 2016.
- ^ abThomas, Elizabeth (17 May 2016). 'On a 'Tour'ing Track'. Deccan Chronicle. Archived from the original on 8 June 2016. Retrieved 17 May 2016.
- ^ലക്ഷ്മി (2 February 2016). 'ഇടുക്കിയെ മിടുക്കിയാക്കിയ സംഗീതം'. Malayala Manorama. Archived from the original on 13 April 2016. Retrieved 25 June 2016.
- ^Abhilash, Rekha (10 February 2016). 'Jimcy, the girl who quietly stole Mahesh's heart'. Malayala Manorama. Archived from the original on 4 May 2016. Retrieved 19 June 2016.
- ^ abPaul, Nelson K. (3 February 2016). ''Maheshinte Prathikaaram' music review: Gem of an album'. Malayala Manorama. Archived from the original on 8 May 2016. Retrieved 19 June 2016.
- ^James, Anu (5 February 2016). 'Watch Idukki, Theliveyil songs from Fahadh Faasil's 'Maheshinte Prathikaram' [Jukebox]'. International Business Times. Archived from the original on 13 February 2016. Retrieved 16 May 2016.
- ^K. Paul, Nelson (12 February 2016). 'Tunes Weekly: Top five songs of the week'. Malayala Manorama. Archived from the original on 5 May 2016. Retrieved 16 May 2016.
- ^'Maheshinte Prathikaaram (Original Soundtrack)'. Saavn. 29 February 2016. Retrieved 1 August 2016.
- ^'Maheshinte Prathikaaram Original Score'. Gaana. 29 February 2016. Retrieved 1 August 2016.
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