Every idea has an expiry date, says ‘Take Off’ Director

Bengaluru: “Everyoneviews and reacts to an issue from their own perspective. A film is also a form of resistance shown by a director toward a particular subject. Most of my films have faced censorship issues, even in foreign countries. In this regard, I believe every director should be granted freedom,” said Mahesh Narayanan, the director of popular Malayalam films such as Take Off and See You Soon.

Speaking at a dialogue session titled ‘Rethink Narrative’ during the 17th Bengaluru International Film Festival, he said, “When I attended a film festival in Iran, I spoke about the problems faced by the famous director Jafar Panahi. However, the locals there dismissed my views. They told me that I was understanding the story through the eyes of Western media, while the reality was different. Everyone views a situation through their own lens; it should be possible to look through different lenses.”

Discussing the censorship issues facing Vijay’s film Jananayagan, he noted, “A long time ago, during an election, a film by M. G. Ramachandran was scheduled for release. At that time, DMK party workers reportedly demanded a ban on the film. However, Karunanidhi, who had a background in cinema, handled the situation with dignity. He reportedly said that if party members were to leave the party after watching a two-hour film, then it would be better to shut down the party itself. Cinema and politics are different. One must understand that.”

Regarding his upcoming directorial Patriot, starring Mohanlal and Mammootty, he said, “I did not choose them simply because they are stars. I approached them because those artists were suitable to tell my story. They also come to the set just like any other artist.”

Explaining his writing process, he said, “Every idea has an expiry date. Therefore, one must revisit and edit the screenplay every six months. A screenplay should evolve with the times. The script must engage in a dialogue with the writer. I write stories based on real-life events that have moved me. I nurture them, keeping both the incident and the characters with me until they evolve into a film.”

On the process of bringing reality to cinema, he remarked, “I want to remain loyal to the source, the reality, and the characters. But ultimately, a film is not the truth. It is fiction—a lie. I must be aware that I am telling a lie, but it should be a lie that is close to reality. Specifically, I try to convey whatever moved me most intensely in that particular incident.”

Expressing his desire to work repeatedly with actors like Fahadh Faasil and Kunchacko Boban, he said, “I try to bring out the different dimensions within them. If you look at my films, a different version of Fahadh appears in every movie.”

“I imagine the final image of the film first and only then do I proceed with the rest of the writing. Otherwise, I cannot write. That image might change later, but it must be in my head. Additionally, I write with the audience in mind. My objective is to engage in writing so that they do not feel disconnected,” he said.

The dialogue was moderated by Vishal Shinde.