Suriya confesses all
22 May 2009, 0000 hrs IST, PRIYANKA DASGUPTA , TNN
Way back in 1997, he had come down to shoot for his first film in Kolkata. And that too, by train. The production budgets increased a little on his return journey, he was given a flight ticket back home. Twelve years later, a lot changed for him and this city when he came down recently to shoot for KS Raviprakash’s Aadhavan.
Critical acclaim, box-office success and even, fatherhood later, Southie superstar Suriya doesn’t fail to recognise the spirit of Kolkata that he had been charmed with when he had first come down to shoot a dance sequence for Nerrukku Ner on a budget of Rs 1.75 lakh that had gone up to Rs 2 lakh. “I still remember the busy traffic near Howrah station, the taxis honking and the fun of having street food.
While a lot of Kolkata has changed, especially near the neatly planned stretch near the airport, the spirit remains unchanged. People have their own pace of living life, a far cry from how life is in the other metros. I’d still love to have egg rolls and flavoured soda that one gets on the Kolkata street. I can’t have the mishti since I’m on diet for my shooting,” insists the superstar who played the lead in the Tamil Ghajini that had also inspired Aamir Khan to remake it into a Hindi blockbuster.
Though a Tamil film, Suriya is essaying a Bengali character in Aadhavan. That also explains his excitement at doing the photoshoot where he wears a dhoti-punjabi. “I don’t have a traditional attire in the film though I’m quite enjoying this whole experience. In the film, I wear regular stuff since it’s set in contemporary Kolkata. But, I’ll have to speak some Bengali lines. I still have time to learn those Bengali lines before we start shooting that scene. I like to rehearse and I’m not a one-take actor. Al Pacino gives 17/18 takes for one shot. It should be okay if I ask for three retakes,” he smiles, while adding how Aadhavan will showcase the best of Kolkata.
“Kolkata has hardly been explored in Tamil films,” he says.
True, but does he know that remade Tamil films are what the local industry is thriving on? “No, I never knew this. I hope all rights are sought before doing remakes,” he says, a little taken aback, before adding that he is familiar with the names of Prosenjit, Jeet and Dev. “I see nothing wrong in remaking a film with universal value for entertainment purposes. Aamir, even after the success of Rang De Basanti, found our Ghajini exciting enough to want to remake it. Most of our stars down South are also into remakes.”
Even the germ of his Ghajini was taken from Memento though Suriya would much rather recall how he had met a woman suffering from retrograde amnesia. “She too would use a Polaroid camera and have captions for every picture she took to remind her of events. We had gifted her the Polaroid camera that we had used for shooting Ghajini,” he says, while walking down memory lane.
Soon Suriya is talking about how he is always excited about doing cult films, which more often than not don’t require high budgets. Incidentally, his Kaakha Kaakha was made only on a budget of Rs 2 crore 75 lakhs. “We had walked out on our original producers and all of us, contributed whatever we could to make this film happen. Our script book began with the line: ‘Let’s make this film happen’. We wanted to shock the audience.” A milestone in Suriya’s acting career, this film went on to be among the top grossers in 2003.
“Almost all the Tamil superhits last year were made within a budget of Rs 4-5 crore only. The government supports in terms of giving an entertainment tax benefit but that too can’t be more than a few lakhs. Somewhere, it’s always magical to work within restricted budget.”
But for magical things to happen, there must also be exceptionally talented scriptwriters since literary adaptations are not in vogue down South. Suriya contradicts, saying, “Mani Sir is giving his own spin to Ramayana but otherwise, we don’t adapt literary stuff. We have very few, rather too few, script writers. It’s always the director, who is in charge of penning the story, screenplay and dialogues!”
And most directors, have also been able to bridge the urban and rural divide down South. “Like West Bengal, we too had a phase, where the audience was divided between those who had done a PhD or those who had just about cleared their fifth standard. But we’ve been able to bridge the gap by giving attention to detailing. Sometimes, obvious errors in terms of film-making too are retained to cater to the sensibilities of the masses. But if we want a song-and-dance sequence in a film that goes for festivals, we do it in an aesthetic way so that it appeals to everyone.
Posters too are so designed that they don’t look clichéd and immature. This attention to detailing comes from an honesty of purpose and not big budgets. Things can change by taking risks with fresh faces. I wasn’t a first film wonder. I’m thankful to the Tamil audience for not accepting me till I took a break and Nandha happened. I believe if one different film works, people will be greedy to try things differently.”
Currently, one of the many ways for him to do things differently is to test Bollywood waters with Rakta Charita. His westward journey to Bollywood should, however, not be seen as any attempt to give competition to Aamir and SRK. “There is no competition. I always wanted to do a film with RGV. He had even attended my wedding. Right now, I’m just doing one Hindi film. Chennai remains my base.”
Any chance of doing a Bengali film? “Mohanlal had learnt a new language to do a play. If I can connect with a good role, I’ll do it.” Should we then hope for Suriya to play a Bengali bhadralok? And this time, for a Tollywood film?
Priyanka Dasgupta
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