You could make a case that director Muthaiah is Tamil cinema’s Madhur Bhandarkar. Madhur makes films about different jobs—modelling, journalism, acting—while Muthaiah’s are usually about relationships. Kutti Puli was about a mother and a son. Komban was about a man and his son-in-law. And now, Maruthu is about a man and his grandmother.
Muthaiah develops his script around these relationships. He catches me off guard by using the word ‘ appathaa ’ for grandmother. When I tell him I relate more to the term ‘ Paati ’, he laughs and explains that it’s one of many reasons why he’s happy to do village subjects. “ Appatha and ammachi are more specific terms. Urban people don’t know these things. Today, arugampul (bermuda grass) juice, koozh (millet porridge), neeragaram (left-over porridge)… these have become elite items consumed by those taking a morning walk by the beach,” he says. “Our society is changing, and we are losing our identities by ignoring many healthy traditions and habits.”
Muthaiah likes to think his films are reversing this trend, but it’s difficult to take him seriously. Komban , after all, deteriorated into a generic, violent masala fare. “I accept your criticism, but what’d you rather have me do? Films like Vedham Pudhithu and Muthal Mariyathai may not even get released today. Cricket matches have come down from 60 overs to 20 overs. In fact, the recent celebrity cricket matches were just 6 overs long. I can’t do away with such elements.” That’s why the teaser of Maruthu has the narrator saying, “ Enga Maruthu inathula singam, gunathula puli .” Muthaiah explains that villagers are a lot like that. “ Rosham, maanam … they are fierce about these things. Have you noticed how urban areas are a lot quieter generally than slum areas, even in Chennai? The worker class is quick to be angered and reacts with violence.”
And so, Vishal plays an unskilled labourer in the film. The director is convinced that the script is up his alley. “His physique lends itself to these roles and films.” But not all casting choices were so straightforward. Radha Ravi, for instance, was chosen to play an important character in this film before the Nadigar Sangam elections in which he lobbied against Vishal and team. After the elections, marked by much bitterness and acrimony between the two camps, ended, Muthaiah approached Vishal gingerly about the choice. “But I was surprised to find that he held nothing against Radha Ravi. They both understood it wasn’t personal.”
Interestingly, Muthaiah still nurses hopes of making an urban film sometime. “But when producers and actors tell me this is what I am good at, who am I to disagree?” After all, it isn’t just rural traditions that are disappearing, according to him. “Even rural films are. I like to think I’m addressing that gap.”
