The universe conspired to make Karthi a part of Madras. Director Pa Ranjith (Attakathi) wrote it with three newcomers in mind, but the cast never fell into place. Around that time, Karthi, bored after years of doing films that rarely took him out of his comfort zone, was yearning to do something raw. That’s when he chanced upon the script of Madras, produced by his relative Gnanavel Raja. “Who has the guts to write a film with a wall as the main character?” asks Karthi. “I went up to Ranjith, whom I hugely admire, and asked to be part of the movie,” recalls Karthi. The actor’s only worry was whether there would be a conflict between his real age and screen age. “Ranjith reworked the age of my character, a timid, paavam payyan.”
Madras, which releases on September 26, was a learning experience. Karthi learnt to shoot again in real locations, absorb character traits, delve into nuances. He worried if he would fit in a set teeming with young, keen actors. “They are from theatre. I wondered if I would match up to them. I had to transform myself into a North Madras boy. I pushed myself.”
The reception to the trailer proved his hunch was right. People compared it to Paruthiveeran, his debut. Actually, Karthi has borne the cross of Paruthiveeran through all his films — probably the disadvantage of making a searing debut. “When a film does badly, everyone asks me why I chose it. I can only choose from what comes to me. I don’t choose to make a bad film,” bristles Karthi. Thankfully, the criticism has been for the films, not his acting. “But I feel responsible. Sometimes, halfway through, you know it’s not shaping up the way you expected. But you can’t control everything.”
Which is why Karthi waited months before signing up Madras and Komban. “We’ve all admired foreign language films where a non-living thing becomes the central character. I wanted to be part of one such film, a film that lifts your aesthetics. But a niche film involves compromises — I slashed my salary and am prepared for some collateral damage. We have to take risks, right?”
This doesn’t mean Karthi dislikes commercial fare. “I loved what Siva made me do in Siruthai. If subtlety is difficult, so is shouting. He made me comfortable being over the top.” And in Biryani, Karthi was a convincing Casanova. He next dabbles in the commercial genre with a Lingusamy film, after Komban.
What Karthi won’t do is stuff he is uncomfortable with. “I have learnt the hard way that you have to take a strong stand. If I’m uncomfortable, it shows on screen. I won’t repeat those mistakes again. I want to do movies that fall within my ethical zone.”
The mistakes also taught him to handle criticism. “Earlier, I would get hurt. Till then, I’d heard only good things about myself. Now, I’ve learnt to move on.”
Karthi says with a laugh that “mistakes are more expensive after you make a name,” but admits that one can’t expect any sympathy from audiences. “They pay money to watch a film. I’m grateful they still care and look forward to my work. Sometimes, you know a film is just average or even bad. Then, you just hope and pray some people will like it. So many people have told me Saguni is one of their favourite films.” That’s why Karthi is very careful while promoting his films. “I never give false promises. I cringe to cheat the audience.”
And how does Karthi deal with disappointments? With home and daughter Umayaal. “She has changed my perspective about life. Earlier, my priority was the set and my shot. Now, it’s her. She’s taken over my life. She sleeps in the thottil and I swing her till she dozes off. These are the snatches of normality I crave. My home is my sanctuary.”
Madras
I love the attention Ranjith has given to the film’s background. He knows how fashion-conscious people in that area are, how they use colours… All I told him was ‘I must be part of the milieu.’ I’m glad we got the mood of the film across in the trailer. Credit must go to Murali, the cameraman, who has done a fabulous job.
