By Express News Service
Sreekumaran Thampi has donned many roles within the Malayalam movie business with nice flourish. An engineer-turned-filmmaker, Thampi has all the time been a loner within the business. But he did carve an area for himself with out the assistance of any godfather. Thampi talks to Express about his troubled childhood, his tussles, particularly with Devarajan Master, his particular relationship with singer Yesudas and why he feels Mammootty and Mohanlal are chargeable for making Malayalam movie superstar-oriented.
Excerpts:
You have been a lyricist, director, producer, music director… Which was the position you had been greatest at?
I’m like a chicken who doesn’t wish to be confined to only one nest alone. I carry on flying wherever I want.
Which is probably the most stunning nest that you’ve got?
That’s for individuals to resolve. Whatever I do, I give my cent p.c. I’ve directed super-hit motion films like Nayattu, whereas additionally making films like Gaanam, a slow-paced film. Basically, I’m a poet and a lyricist. Only these with a poetic thoughts could be good filmmakers.
How was your rising up days?
My father was a drunkard and used to have episodes of delirium. My mom was all the things to me. I was a part of the theatre and participate in lots of competitions, profitable quite a few prizes. I significantly keep in mind one event. I had gained many prizes in a contest, and everybody was praising me. While coming down from the stage holding the prizes, I heard an individual standing near the stage say – “What’s the point in winning so many prizes? His father is insane.” This is an incident that’s without end etched in my reminiscence… By the best way, the one who made this comment later went on to develop into a well-known music composer!
Such envy?
There will all the time be individuals envious of your success. It is pure. I’ve one enemy in my total life – that’s jealousy.
You had a particular relationship along with your mom…
Yes. Without my mom, there isn’t any Sreekumaran Thampi. My mom had 10 youngsters, of whom solely 5 survived. It was my mom who inculcated in me a way of self-discipline. This is my 57th yr in cinema. I nonetheless don’t drink or smoke. I can nonetheless keep in mind my mom’s incessant tears on account of my father’s alcoholism. It was my childhood experiences that made me a thinker. My life has been one lengthy procession of sorrows. And that’s what moulded me into the particular person I’m immediately.
You had been an engineer earlier than you joined the movie business. Was it straightforward to give up such a prestigious career (at that time) and be part of the movie business?
I resigned from my job within the city planning division on the age of 26 and shifted to Madras. It was a tricky section, with little help from my household. They criticised me for throwing away my authorities job that in flip grew to become a deterrent for ‘good’ marriage proposals.
How had been your early days within the movie business?
P Subramaniam was the one who launched me to movies. He preferred my lyrics, terming it totally different from that of Vayalar (Rama Varma) and P Bhaskaran. Though I needed to be a scriptwriter, he gave me the chance to jot down songs. That is how I grew to become a lyricist.
You’ve had a love-hate relationship with Devarajan Master…
He reluctantly accepted me as a lyricist after producer T S Muthaiah insisted. I added oil to the fireplace by foolishly asking for the composition of the songs. He additionally feared that if there have been extra movies like Chitramela sooner or later, Kuttan’s (Vayalar) profession could be at stake. He made it clear that he wouldn’t work with me. But I’m indebted to him for his music. We labored once more collectively for Velutha Kathreena as producer P Balthasar insisted. Master was reluctant to affiliate with me however relented after I made a name to him. I requested him why he needed to nip me within the bud. He referred to as me headstrong. I retorted saying I believed the identical about him. He then agreed to affiliate with me in Velutha Kathreena on the situation that it could be our final movie collectively. Master was apprehensive about Vayalar being out of labor if he continues to tune my lyrics. “Writing lyrics is Kuttan’s vocation. You are an engineer. You can find other work,” he instructed me.
Have heard that you just challenged him that you’d make his harmonist a music director…
I did. But frankly, I had no concept that M Ok Arjunan was his harmonist! I began working with Arjunan for the movie Guest House in 1969. All our songs had been hits. By 1973, each Devarajan and Arjunan had an equal variety of films. It was a blow to the Vayalar-Devarajan group. After a fallout with movie producer Kunchacko, Devarajan Master approached me to work collectively once more for the movie Kalachakram in 1973. One of the songs – Kaalamorajnatha Kaamukan — speaks concerning the flip of future. Devarajan was fast to understand the allusion. We continued our affiliation for round 36 movies.
But you once more had a fallout with him…
Yes. That was following an interview by Nedumudi Venu, who was a journalist then. He needed to know why I allowed Master to let Madhuri sing all of the songs. I instructed him that it was the music director’s prerogative, including that I preferred the voice of P Susheela and Vani Jairam greater than that of Madhuri. Master acquired livid and we once more had a fallout. Later when Master got here to attend my daughter’s marriage reception in Madras, he did admit that we may simply have finished over 1,000 songs, had we continued our affiliation. A loss for Malayalam cinema certainly!
You appeared to have had a fallout with virtually all large names like Devarajan, Prem Nazir and M Ok Arjunan. What do you attribute this to? Your ego?
Ego isn’t dangerous if it doesn’t hurt anybody. My ego is my shallowness, not conceitedness.
Your movie Mohiniyattam is among the first female-oriented movies within the business…
I’m the first-ever director within the nation to make a movie on girl’s emancipation – Mohiniyattam in 1976. But it was banned by the Censor Board because it instructed the story of the survival of three rape victims. That was in the course of the Emergency. I needed to stroll from pillar to submit to get that movie cleared. Thanks to the efforts of Congress leaders Ok Karunakaran and A Ok Antony, it lastly acquired cleared. The movie bagged a number of awards.
Who do you imagine is extra essential in cinema, the creator or the performer?
Of course, the creator. Is Shakespeare or the one who performs Othello extra essential? The performer does garner all of the applause, whereas the creator is admired principally after she or he dies. Prem Nazir was the one particular person in Malayalam cinema who understood the creator’s greatness. He as soon as instructed me that folks would neglect an actor if he didn’t do movies for some time, however the author’s place in public reminiscence would all the time keep intact.
You have all the time been important of movies revolving round superstars…
I ended making movies when theatres pestered me for under Mammootty or Mohanlal movies. Earlier they needed Sreekumaran Thampi’s movies. Ok S Sethumadhavan, Vincent, me… all of us needed to cease doing movies. Mammootty and Mohanlal are to be blamed for establishing “superstar supremacy” in Malayalam cinema. Prem Nazir by no means did it, and neither did Jayan, Soman, or Sukumaran. Till then it was we administrators who created superstars. But these two did the reverse — they created administrators.
But you gave Mammootty his first lead position in Munnettam…
Mammootty was nervous. I nonetheless keep in mind Mammootty’s concern over his failure to lip-sync whereas capturing songs. The subsequent movie we did collectively was Vilichu Vilikettu. During the dialogue, Mammootty urged changing Dhananjayan with some ‘hit’ cameraman. I refused. I requested him how it could really feel if I changed him as a substitute. Mammootty by no means gave me dates after that.
What about Mohanlal?
Mohanlal who used to do villain roles acquired his first main position in my movie Enikkum Oru Divasam in 1982. The movie was an utter flop as a result of individuals didn’t settle for him. The subsequent movie was Aadhipathyam with three heroes – Prem Nazir, Madhu, and Mohanlal. My distributors suggested me to interchange Mohanlal with Mammootty. I refused. Our third movie Yuvajanolsavam was a success. That marked his rise as a celebrity. But he stopped giving me his name sheet after that. He had then promised me that he would act in my movie as soon as in six months. Believing him, I launched a movie distribution firm. But he ditched me. I needed to promote my home for simply Rs 11 lakh to arrange the corporate. Today it’s price `17 crore.
You have directed each Mammootty and Mohanlal. Who do you assume is the higher actor?
The largest cause for Mammootty’s animosity in the direction of me is that I’ve stated Mohanlal is an efficient actor. I used to be on the jury of the nationwide movie awards. I used to be a part of the jury when Mammootty and Mohanlal emerged within the remaining spherical for Oru Vadakkan Veeragatha and Kireedam respectively. Ok G George and I had been on totally different committees. Of the 4 committees, three together with mine adjudged Mohanlal as one of the best actor. Only the committee headed by George backed Mammootty. He appeared to have given his phrase to Mammootty. I used to be of the view that almost all choice ought to prevail. But George had good hyperlinks with filmmakers from the nation’s north and east.
A celebration was held, and 6 members modified their minds. The subsequent day, when voting was held, Mammootty acquired 11 votes and Mohanlal 5. Basu Bhattacharya and I strongly argued for Mohanlal. I demanded {that a} particular jury award be given to Mohanlal. I’ve no animosity in the direction of Mammootty or any particular affection in the direction of Mohanlal. When I used to be a jury member for the third time, Bharatham was being thought of and Adoor Gopalakrishnan was the jury chairman. He belonged to the Mammootty group (laughs out loudly). I supported Mohanlal. Soumitra Chatterjee was a detailed competitor. I turned it round this time. Mohanlal was adjudged greatest actor and Soumitra obtained a particular jury point out. This elevated Mammootty’s hostility in the direction of me. But Mohanlal is the explanation why I misplaced my home. Had I been revengeful, I’d not have given him the award. That reveals my character.
When you made Bandhukkal Sathrukkal in 1993, you had a large star forged, together with actors like Jayaram and Mukesh…
When I did that film, Mukesh was a no person. I first narrated the story to Mukesh and requested him which position he needed. He needed to be forged as Thilakan’s son. Jayaram had a extra humorous position. When the shoot began, a lot of the songs went to Jayaram which upset Mukesh. He stated I had cheated him. He stated everybody was dishonest him, particularly upper-caste individuals. That film made me realise that my interval has ended. Again, I made a film Ammaykkoru Tharattu on the theme of previous age. I misplaced over `1.75 crore. That’s after I determined to not do any extra films.
Have you ever considered working with new-gen actors?
I’m positive they won’t give me their name sheets, as we at the moment are a part of an old-age residence in cinema! Why ought to I humiliate myself?
Who all have impressed you among the many present crop of actors?
Tovino Thomas is sweet. Though Aami was not commercially profitable, his portrayal of Sree Krishna was notable. For me, an awesome actor ought to be capable of do any position, be it motion, comedy or drama.
You get pleasure from a detailed relationship with Yesudas. You are the one one who calls him ‘Yesu’…
Dakshinamoorthy too referred to as him so. I name him “Ente Yesu” and he addresses me as “Ente Thampi”. But although we’re such shut associates, I’ve by no means requested him to just accept a remuneration decrease than what he will get from different producers. Perhaps that’s why he likes me.
What do you consider the allegation that Yesudas didn’t enable different singers to develop?
Totally false. If there’s any singer who could be thought of on a par with Yesudas, it’s only Mohammed Rafi. Not even Balasubrahmanyam. SPB might have sung the songs in Sankarabharanam however wouldn’t have been in a position to do justice to the songs in Gaanam. (hums the songs of ‘Gaanam’ and Sankarabharanam)… “Sankara…” isn’t classical in any respect: it’s only a movie tune. But songs in Gaanam are classical. That is the explanation why Gaanam didn’t develop into a success like Sankarabharanam. Only when you accurately increase and drop your voice from ‘keezh shadjam’ to ‘mel shadjam’ are you able to develop into Yesudas. Even Jayachandran (singer P Jayachandran) can’t do it. (Sings ‘Kaattadichu, kodumkaattadichu, kayalile vilakkumaram kannadachu. Swapnavum narakavum kaalamam kadalin akkareyo ikkareyo…) Nobody will be able to sing Akkareyo in the correct ‘sruthi’. Only Yesudas can…
Many cite the examples of Brahmanandan to show the purpose…
Brahmanandan can’t sing like Yesu. He was a singer with a whole lot of limitations. I’ve penned songs for him to assist him from penury. I had requested Dakshinamoorthy and Arjunan maash’ (M Ok Arjunan) to compose songs for him. (Sings sa, re, ga, ma, pa, dha.) Brahmanandan can go solely as much as dha. If he sings ni, his voice will crack (‘velli’). He can’t sing in excessive pitch. He can strive however the voice will crack.
What is your politics?
I’m Left-leaning and pro-poor, however not a celebration employee. I’ve not written revolutionary poems like ONV (O N V Kurup) or Vayalar. But my movie songs are revolutionary. But I’ve not written for the occasion aiming to be the chairman of Sahitya Akademi. (laughs)
You are an individual with a scientific bent of thoughts. But you might be non secular too…
See the sandalwood paste on my brow (touches the brow). I sincerely imagine in Indian tradition. That is as a result of Indian ideas are scientific. I’m not speaking within the language of RSS.
You imagine in astrology too?
Astrology is a science. In 1976, NASA’s spaceship reached Mars and introduced again Martian soil and declared the soil of Mars is purple. But an Indian textual content written 5,000 years in the past, Parasara Samhitha, referred to as Mars Angaraka or the purple one. How did that occur? Did we ship a rocket at the moment? We had possessed a science that was destroyed by outsiders.
Have heard that you just made your spouse write a letter to your ex-lover on the evening of your marriage ceremony…
That was candy revenge. In a manner, merciless too.
There are tales that many main actresses had been in love with you…
Actresses with a creative bent of thoughts choose intellectuals. They have a psychological affinity in the direction of creators. Since they’re performers, they grasp the fantastic thing about a created work. Yes, there have been some situations. But I most well-liked friendship. It’s not that I’ve taken a vow to be morally upright. It’s simply concern… (laughs out loud).
What would you say is the largest contribution you have got made to Malayalam movies?
As a filmmaker, my good contributions have been Gaanam and Mohiniyattam. As far as lyrics go, I can proudly say that I’ve made immense contributions. Akale akale neelaakasham and Hridaya sarassile… at the moment are 56 years previous. They could be referred to as pensioners (laughs). But they nonetheless are evergreen ones…
Sreekumaran Thampi has donned many roles within the Malayalam movie business with nice flourish. An engineer-turned-filmmaker, Thampi has all the time been a loner within the business. But he did carve an area for himself with out the assistance of any godfather. Thampi talks to Express about his troubled childhood, his tussles, particularly with Devarajan Master, his particular relationship with singer Yesudas and why he feels Mammootty and Mohanlal are chargeable for making Malayalam movie superstar-oriented.
Excerpts:
You have been a lyricist, director, producer, music director… Which was the position you had been greatest at?
I’m like a chicken who doesn’t wish to be confined to only one nest alone. I carry on flying wherever I want.
Which is probably the most stunning nest that you’ve got?
That’s for individuals to resolve. Whatever I do, I give my cent p.c. I’ve directed super-hit motion films like Nayattu, whereas additionally making films like Gaanam, a slow-paced film. Basically, I’m a poet and a lyricist. Only these with a poetic thoughts could be good filmmakers.
How was your rising up days?
My father was a drunkard and used to have episodes of delirium. My mom was all the things to me. I was a part of the theatre and participate in lots of competitions, profitable quite a few prizes. I significantly keep in mind one event. I had gained many prizes in a contest, and everybody was praising me. While coming down from the stage holding the prizes, I heard an individual standing near the stage say – “What’s the point in winning so many prizes? His father is insane.” This is an incident that’s without end etched in my reminiscence… By the best way, the one who made this comment later went on to develop into a well-known music composer!
Such envy?
There will all the time be individuals envious of your success. It is pure. I’ve one enemy in my total life – that’s jealousy.
You had a particular relationship along with your mom…
Yes. Without my mom, there isn’t any Sreekumaran Thampi. My mom had 10 youngsters, of whom solely 5 survived. It was my mom who inculcated in me a way of self-discipline. This is my 57th yr in cinema. I nonetheless don’t drink or smoke. I can nonetheless keep in mind my mom’s incessant tears on account of my father’s alcoholism. It was my childhood experiences that made me a thinker. My life has been one lengthy procession of sorrows. And that’s what moulded me into the particular person I’m immediately.
You had been an engineer earlier than you joined the movie business. Was it straightforward to give up such a prestigious career (at that time) and be part of the movie business?
I resigned from my job within the city planning division on the age of 26 and shifted to Madras. It was a tricky section, with little help from my household. They criticised me for throwing away my authorities job that in flip grew to become a deterrent for ‘good’ marriage proposals.
How had been your early days within the movie business?
P Subramaniam was the one who launched me to movies. He preferred my lyrics, terming it totally different from that of Vayalar (Rama Varma) and P Bhaskaran. Though I needed to be a scriptwriter, he gave me the chance to jot down songs. That is how I grew to become a lyricist.
You’ve had a love-hate relationship with Devarajan Master…
He reluctantly accepted me as a lyricist after producer T S Muthaiah insisted. I added oil to the fireplace by foolishly asking for the composition of the songs. He additionally feared that if there have been extra movies like Chitramela sooner or later, Kuttan’s (Vayalar) profession could be at stake. He made it clear that he wouldn’t work with me. But I’m indebted to him for his music. We labored once more collectively for Velutha Kathreena as producer P Balthasar insisted. Master was reluctant to affiliate with me however relented after I made a name to him. I requested him why he needed to nip me within the bud. He referred to as me headstrong. I retorted saying I believed the identical about him. He then agreed to affiliate with me in Velutha Kathreena on the situation that it could be our final movie collectively. Master was apprehensive about Vayalar being out of labor if he continues to tune my lyrics. “Writing lyrics is Kuttan’s vocation. You are an engineer. You can find other work,” he instructed me.
Have heard that you just challenged him that you’d make his harmonist a music director…
I did. But frankly, I had no concept that M Ok Arjunan was his harmonist! I began working with Arjunan for the movie Guest House in 1969. All our songs had been hits. By 1973, each Devarajan and Arjunan had an equal variety of films. It was a blow to the Vayalar-Devarajan group. After a fallout with movie producer Kunchacko, Devarajan Master approached me to work collectively once more for the movie Kalachakram in 1973. One of the songs – Kaalamorajnatha Kaamukan — speaks concerning the flip of future. Devarajan was fast to understand the allusion. We continued our affiliation for round 36 movies.
But you once more had a fallout with him…
Yes. That was following an interview by Nedumudi Venu, who was a journalist then. He needed to know why I allowed Master to let Madhuri sing all of the songs. I instructed him that it was the music director’s prerogative, including that I preferred the voice of P Susheela and Vani Jairam greater than that of Madhuri. Master acquired livid and we once more had a fallout. Later when Master got here to attend my daughter’s marriage reception in Madras, he did admit that we may simply have finished over 1,000 songs, had we continued our affiliation. A loss for Malayalam cinema certainly!
You appeared to have had a fallout with virtually all large names like Devarajan, Prem Nazir and M Ok Arjunan. What do you attribute this to? Your ego?
Ego isn’t dangerous if it doesn’t hurt anybody. My ego is my shallowness, not conceitedness.
Your movie Mohiniyattam is among the first female-oriented movies within the business…
I’m the first-ever director within the nation to make a movie on girl’s emancipation – Mohiniyattam in 1976. But it was banned by the Censor Board because it instructed the story of the survival of three rape victims. That was in the course of the Emergency. I needed to stroll from pillar to submit to get that movie cleared. Thanks to the efforts of Congress leaders Ok Karunakaran and A Ok Antony, it lastly acquired cleared. The movie bagged a number of awards.
Who do you imagine is extra essential in cinema, the creator or the performer?
Of course, the creator. Is Shakespeare or the one who performs Othello extra essential? The performer does garner all of the applause, whereas the creator is admired principally after she or he dies. Prem Nazir was the one particular person in Malayalam cinema who understood the creator’s greatness. He as soon as instructed me that folks would neglect an actor if he didn’t do movies for some time, however the author’s place in public reminiscence would all the time keep intact.
You have all the time been important of movies revolving round superstars…
I ended making movies when theatres pestered me for under Mammootty or Mohanlal movies. Earlier they needed Sreekumaran Thampi’s movies. Ok S Sethumadhavan, Vincent, me… all of us needed to cease doing movies. Mammootty and Mohanlal are to be blamed for establishing “superstar supremacy” in Malayalam cinema. Prem Nazir by no means did it, and neither did Jayan, Soman, or Sukumaran. Till then it was we administrators who created superstars. But these two did the reverse — they created administrators.
But you gave Mammootty his first lead position in Munnettam…
Mammootty was nervous. I nonetheless keep in mind Mammootty’s concern over his failure to lip-sync whereas capturing songs. The subsequent movie we did collectively was Vilichu Vilikettu. During the dialogue, Mammootty urged changing Dhananjayan with some ‘hit’ cameraman. I refused. I requested him how it could really feel if I changed him as a substitute. Mammootty by no means gave me dates after that.
What about Mohanlal?
Mohanlal who used to do villain roles acquired his first main position in my movie Enikkum Oru Divasam in 1982. The movie was an utter flop as a result of individuals didn’t settle for him. The subsequent movie was Aadhipathyam with three heroes – Prem Nazir, Madhu, and Mohanlal. My distributors suggested me to interchange Mohanlal with Mammootty. I refused. Our third movie Yuvajanolsavam was a success. That marked his rise as a celebrity. But he stopped giving me his name sheet after that. He had then promised me that he would act in my movie as soon as in six months. Believing him, I launched a movie distribution firm. But he ditched me. I needed to promote my home for simply Rs 11 lakh to arrange the corporate. Today it’s price `17 crore.
You have directed each Mammootty and Mohanlal. Who do you assume is the higher actor?
The largest cause for Mammootty’s animosity in the direction of me is that I’ve stated Mohanlal is an efficient actor. I used to be on the jury of the nationwide movie awards. I used to be a part of the jury when Mammootty and Mohanlal emerged within the remaining spherical for Oru Vadakkan Veeragatha and Kireedam respectively. Ok G George and I had been on totally different committees. Of the 4 committees, three together with mine adjudged Mohanlal as one of the best actor. Only the committee headed by George backed Mammootty. He appeared to have given his phrase to Mammootty. I used to be of the view that almost all choice ought to prevail. But George had good hyperlinks with filmmakers from the nation’s north and east.
A celebration was held, and 6 members modified their minds. The subsequent day, when voting was held, Mammootty acquired 11 votes and Mohanlal 5. Basu Bhattacharya and I strongly argued for Mohanlal. I demanded {that a} particular jury award be given to Mohanlal. I’ve no animosity in the direction of Mammootty or any particular affection in the direction of Mohanlal. When I used to be a jury member for the third time, Bharatham was being thought of and Adoor Gopalakrishnan was the jury chairman. He belonged to the Mammootty group (laughs out loudly). I supported Mohanlal. Soumitra Chatterjee was a detailed competitor. I turned it round this time. Mohanlal was adjudged greatest actor and Soumitra obtained a particular jury point out. This elevated Mammootty’s hostility in the direction of me. But Mohanlal is the explanation why I misplaced my home. Had I been revengeful, I’d not have given him the award. That reveals my character.
When you made Bandhukkal Sathrukkal in 1993, you had a large star forged, together with actors like Jayaram and Mukesh…
When I did that film, Mukesh was a no person. I first narrated the story to Mukesh and requested him which position he needed. He needed to be forged as Thilakan’s son. Jayaram had a extra humorous position. When the shoot began, a lot of the songs went to Jayaram which upset Mukesh. He stated I had cheated him. He stated everybody was dishonest him, particularly upper-caste individuals. That film made me realise that my interval has ended. Again, I made a film Ammaykkoru Tharattu on the theme of previous age. I misplaced over `1.75 crore. That’s after I determined to not do any extra films.
Have you ever considered working with new-gen actors?
I’m positive they won’t give me their name sheets, as we at the moment are a part of an old-age residence in cinema! Why ought to I humiliate myself?
Who all have impressed you among the many present crop of actors?
Tovino Thomas is sweet. Though Aami was not commercially profitable, his portrayal of Sree Krishna was notable. For me, an awesome actor ought to be capable of do any position, be it motion, comedy or drama.
You get pleasure from a detailed relationship with Yesudas. You are the one one who calls him ‘Yesu’…
Dakshinamoorthy too referred to as him so. I name him “Ente Yesu” and he addresses me as “Ente Thampi”. But although we’re such shut associates, I’ve by no means requested him to just accept a remuneration decrease than what he will get from different producers. Perhaps that’s why he likes me.
What do you consider the allegation that Yesudas didn’t enable different singers to develop?
Totally false. If there’s any singer who could be thought of on a par with Yesudas, it’s only Mohammed Rafi. Not even Balasubrahmanyam. SPB might have sung the songs in Sankarabharanam however wouldn’t have been in a position to do justice to the songs in Gaanam. (hums the songs of ‘Gaanam’ and Sankarabharanam)… “Sankara…” isn’t classical in any respect: it’s only a movie tune. But songs in Gaanam are classical. That is the explanation why Gaanam didn’t develop into a success like Sankarabharanam. Only when you accurately increase and drop your voice from ‘keezh shadjam’ to ‘mel shadjam’ are you able to develop into Yesudas. Even Jayachandran (singer P Jayachandran) can’t do it. (Sings ‘Kaattadichu, kodumkaattadichu, kayalile vilakkumaram kannadachu. Swapnavum narakavum kaalamam kadalin akkareyo ikkareyo…) Nobody will be able to sing Akkareyo in the correct ‘sruthi’. Only Yesudas can…
Many cite the examples of Brahmanandan to show the purpose…
Brahmanandan can’t sing like Yesu. He was a singer with a whole lot of limitations. I’ve penned songs for him to assist him from penury. I had requested Dakshinamoorthy and Arjunan maash’ (M Ok Arjunan) to compose songs for him. (Sings sa, re, ga, ma, pa, dha.) Brahmanandan can go solely as much as dha. If he sings ni, his voice will crack (‘velli’). He can’t sing in excessive pitch. He can strive however the voice will crack.
What is your politics?
I’m Left-leaning and pro-poor, however not a celebration employee. I’ve not written revolutionary poems like ONV (O N V Kurup) or Vayalar. But my movie songs are revolutionary. But I’ve not written for the occasion aiming to be the chairman of Sahitya Akademi. (laughs)
You are an individual with a scientific bent of thoughts. But you might be non secular too…
See the sandalwood paste on my brow (touches the brow). I sincerely imagine in Indian tradition. That is as a result of Indian ideas are scientific. I’m not speaking within the language of RSS.
You imagine in astrology too?
Astrology is a science. In 1976, NASA’s spaceship reached Mars and introduced again Martian soil and declared the soil of Mars is purple. But an Indian textual content written 5,000 years in the past, Parasara Samhitha, referred to as Mars Angaraka or the purple one. How did that occur? Did we ship a rocket at the moment? We had possessed a science that was destroyed by outsiders.
Have heard that you just made your spouse write a letter to your ex-lover on the evening of your marriage ceremony…
That was candy revenge. In a manner, merciless too.
There are tales that many main actresses had been in love with you…
Actresses with a creative bent of thoughts choose intellectuals. They have a psychological affinity in the direction of creators. Since they’re performers, they grasp the fantastic thing about a created work. Yes, there have been some situations. But I most well-liked friendship. It’s not that I’ve taken a vow to be morally upright. It’s simply concern… (laughs out loud).
What would you say is the largest contribution you have got made to Malayalam movies?
As a filmmaker, my good contributions have been Gaanam and Mohiniyattam. As far as lyrics go, I can proudly say that I’ve made immense contributions. Akale akale neelaakasham and Hridaya sarassile… at the moment are 56 years previous. They could be referred to as pensioners (laughs). But they nonetheless are evergreen ones…
