'We need more sensible family dramas'
SVe Shekher is not new to cinema. The man has balanced his career as a theatre artiste, actor, politician, and dialogue-writer. In 1982, when he played a character — Kittumani in Visu’s superhit directorial Manal Kayiru, he became a household name. And 34 years later, Shekher, Visu and Kuriakose Ranga reprise their original roles, albeit in the present era. We’re referring to Manal Kayiru 2, a sequel.
Shekher tells CE, “I think it’s a record in film history for the same artistes to do the same roles after three decades. The challenge was to bring in the old artistes together and recreate a new wave of magic.”
In the original, Kittumani lists eight conditions his future wife must meet, to Naradar Naidu, the iconic role played by Visu. “In the sequel, my daughter (played by actor Poorna) will lay down similar conditions before she agrees to marry Ashwin (my son in real life),” he explains, and adds that Visu and him did not direct the film due to generation gap. “That’s why we roped in Madhan Kumar of Yaaruda Mahesh (2013) fame to helm the film. I don’t want to hear somebody say that the film is ‘outdated’. That film changed my life and was a different experience. The narrative inspired me a lot,” he says.
Why did they decide to do this film now? “We had planned this project in 2008. We met director K Balachander and discussed it too. But Ashwin, who was my choice, was doing some films at that time. Even I was busy with theatre plays and talk shows on television. A couple of years ago, we got clarity and pursued the idea,” he clarifies.
The changing culture of broken marriages and break-ups was also one of the reasons for this film to be made now. “It’s difficult to find the right groom these days. Everywhere we see break-ups and unsuccessful marital relationships. I wanted to showcase how the current scenario through this film and intersperse the script with clean comedy,” he points out. “I am sure that the film will reach out to wider sections of audience as they can easily connect with what’s happening on the screen.”
How would the present generation relate to the film, if they haven’t watched the original? He smiles, and says, “Precisely that’s why the film begins with a four-minute introduction, which will have scenes from the original. And, the rest of it will take off from there. In a way, this will be a kind of recap for those who have forgotten it too.”
Shekher is planning to release the film next month. “In part one, the guy puts down conditions and his family suffers big time because of that and today the girl does the same, in the second part. We have tried to convey that life would be good if partners adjust with each other, instead of convincing the judge for a divorce,” he says.
And why was Shekher away from the silver screen? “I was a part of successful family dramas during the 80s. Sahadevan Mahadevan (1988), Dowry Kalyanam (1983) and Poove Poochooda Vaa (1985) were among them. I have always believed that cinema is a powerful medium to pass on a meaningful message to the society. But if you take a look at the present-day films, they are focused more on negative elements. I’d love to be in movies that everyone can watch without feeling embarrassed,” he shares.
While the late Na Muthukumar has penned four songs, Shekher has taken the onus of penning the story, screenplay and supervised dialogues of Manal Kayiru 2. “Anirudh has crooned for us and it’s a nice gesture that he didn’t charge us,” he grins.
After a pause, he continues: “I don’t want to play that typical father, who drinks with his son. I am not here for that. I don’t want to be a part of successful films, but I think my contribution should add success to films.”
Among the current actors, Shekher says he likes Vijay Sethupathi, and praises his films including his recent Aandavan Kattalai and Naanum Rowdy Thaan. “I loved Kaaka Muttai (2015)as well. We need more sensible family dramas. I request new filmmakers toi watch movies of those times to understand what it takes to be a filmmaker. There’s technology now, but there’s no content in films at all,” he rues.