Art teacher Patanjali asked his Class V students to draw a bunch of grapes. A little boy went one step further and coloured them with crayons. The effect was so realistic the teacher refused to believe it was his work, and punished him. The boy’s uncle Mohan fought his case. After that Patanjali took the child to every art contest in town on his own bicycle. Years later, in Loyola College, a bored teenager sketched Principal Leo Correa’s face during literature class. He was made to stand on the bench, and later summoned to the office. “I really like your work but you should not have done it in class,” said the Principal, taking the sketch away. Till Fr. Correa left the college, the framed sketch hung in his room. That young boy was Rajeevan, whom Kollywood celebrates as the art director who creates breathtakingly realistic sets. “Mohan mama , Patanjali sir and Fr. Correa shaped my thoughts and encouraged my creativity. I bloomed under their care,” he says.
Cinema was not part of Rajeevan’s initial life. He grew up in a family that did not much care for films. He started enjoying them much later, with his friends. Even then, art direction for films as a career was not on his mind. He was happy doing ad films and TV serials. Mounam Pesiyadhe happened by chance and, before he knew it, he had been signed up for Parthiban Kanavu . The reviews for Parthiban mentioned every department but his — because people thought the film had been shot in a real apartment! Rajeevan had arrived as an art director who did not sacrifice realism for aesthetics.
A string of films followed. He also forged a deep bond with director Gautham Vasudev Menon, fresh from the success of Minnale, working on Kaakha Kaakha first and every film since (except Rehna Hai Terre Dil Mein) . Kaakha Kaakha is still known for the gorgeous wooden house on a lake. It was built in Sri Lanka and became a tourist spot of sorts. “Team work is important in any field. In mine, access to the director and cinematographer is vital. They can ridicule you if they want, but there has to be communication. With Gautham, there’s a lovely connect, an understanding of each other’s craft.” He shares that bond with some other creators too, which is why he has given his best, even in the midst of a cash crunch.
Today, 12 years later, Rajeevan can command the manpower and budget he wants. But regardless of the money involved, his dedication remains the same, says the art director of recent hits such as the Telugu Manam . “Sometimes, smaller films are more draining because you need to be really ingenious,” he says, citing the example of the yet-to-be-released Drought , an Indo-UK production directed by Vishnu. “It was an outdoor shoot and the scene was set in a portion of a dilapidated house. We built the set on tracks and kept putting it all together and removing it like a jigsaw for the interior and exterior shots. But it was exhilarating!”
Rajeevan might be the toast of the town but he admits that for a long time, he craved his father’s acceptance of his craft. “He did not speak to me for six years because I chose the arts,” he recalls. Today, “my father is happy that I am happy”. His mother, though, watches all his films. But despite all the fame, there’s one thing Rajeevan sorely misses. “I don’t paint anymore. I have not laid my hands on a canvas for years. Someday, I must get back to where it all began.”
Pursuit of happiness
I am happy when anyone on the set appreciates my team’s work. I cherish it when the lightman tells me ‘Romba nalla irukku’. But I am happiest when my work is not spoken about. It means I did my job well!
Most difficult set
Every set is difficult, every set is easy. The trick lies in good coordination. I’m grateful I have a great team. Sometimes, before I express my thoughts, they are ready with something.
Last-minute innovation
Almost every day, but one thing I particularly remember is when we forgot to set up a lamp above the dining table for Paarthiban Kanavu. I cut a white vest in the shape of a cone, fixed it on a plywood ring, and inserted a bulb into it. It looked classy!
Trick shots
Computers and technology have taken over most such shots. We don’t even use blood packs or triggers anymore. Everything is done during post-production. In advertising, however, we still use some of these. Ice creams are always crushed ice and potato mash, the steaming coffee is usually an empty cup with incense inside, and roast chicken is usually boiled or raw chicken coated with shoe polish!
Favourite five
Iruvar: Sameer Chanda
Kalapaani: Sabu Cyril
Nayagan: Thota Tharrani
Guru (Malayalam): Muthuraj
Anbe Sivam: Prabhakar
