There is numerous buzz round Pada, starring Vinayakan, Joju George, Kunchacko Boban and Dileesh Pothan. Pada, which implies battalion, is predicated on an actual incident that occurred in Kerala 26 years in the past, when 4 members from pro-Maoist outfit Ayyankali Pada stormed into the Palakkad collector’s workplace and held the then collector WR Reddy as hostage for almost 9 hours. Four members of the group, Kallara Jayan, Ajayan Mannur, Kanhangad Rameshan and Vilayodi Shivankutti, held the Palakkad collector as a hostage, demanding the withdrawal of the revised Tribal invoice handed by the then left authorities below E Ok Nayanar.
Kamal KM, who helmed the critically acclaimed Hindi film ID in 2012, is returning to course with Pada, which is sure to generate dialogue concerning the unaddressed problems with tribals and different marginalized communities. As the film is all set to launch on Friday, Kamal talks concerning the inspiration behind Pada, the analysis for the film and the politics of his challenge.
What impressed you to make a film primarily based on an actual incident that occurred 25 years in the past?
I can solely speak about my private inspiration that made me do that film. I don’t wish to get into the storyline of the film earlier than its launch as that’s not proper. I imagine {that a} movie belongs to the viewers. As the film is predicated on an actual incident, I don’t wish to kill the curiosity of the film by narrating the story. The film throws gentle on the situation of tribal communities in India and Kerala. Though this incident occurred 25 years in the past, the trigger for which these 4 folks risked their lives remains to be not resolved. The group’s points nonetheless stays the identical; it has not progressed a bit. The group which constitutes just one p.c of the full inhabitants is being marginalised by mainstream society even now. Even if we have a look at worldwide politics, we will see how the indigenous communities in lots of nations have been introduced into the mainstream and are being safeguarded. But right here, they’re nonetheless among the many most marginalised communities. So after I do a film on an incident that occurred 25 years in the past, folks will suppose and talk about the relevance of this film, relevance of the act, and the problems confronted by marginalised communities.
How do you suppose the problems of tribal and different marginalized communities will be introduced into the mainstream by way of the medium of cinema?
Through a movie, we will ask questions. Every film offers an expertise, be it a romantic movie or horror film. If the movie offers solely leisure, it should final solely until the time you might be within the theatre. However, if a film lingers in your thoughts even after you come out of the theatre, it’s reworking your ideas. This film is a query directed at society. I hope each viewer will ask that query to themselves. In that course of, perhaps new questions will come up. I don’t suppose a film can change society or the world. Instead a film has the facility to ask questions, generally disturbing questions.
You have forged some in style faces like Vinayakan, Kuchacko Boban, Dileesh Pothan, Joju George to play the lead characters. Was it a acutely aware resolution to forged in style actors for a topic like this?
When you consider doing a film, some faces will come up in your thoughts to do sure characters. In this film, for the principle characters, we needed to perceive the traits of these characters. I even tried to forged actors whose look is much like the actual life individuals concerned within the incident. While casting actors, we prioritised the elements that match with the traits of all the principle characters within the film. That’s how Vinayakan, Kunchako, Dileesh and Joju have been forged as Balu, Rakesh, Narayanankutty and Aravindan, respectively. Kani Kusruthi performs the position of Vinayakan’s spouse. I attempted to incorporate some pan India actors like Prakash Raj who slot in naturally to the film’s narrative.
What form of analysis went into the film?
I began analysis for this film initially of 2018. When we first determined to make this actual life incident into a movie, my first doubt was whether or not an actual incident will be made right into a cinematic narrative, with dramatic moments, visible scope and many others. So I had lengthy conversations with the actual individuals who have been concerned within the 1996 incident. By speaking to them, I used to be satisfied that there are such a lot of cinematic components to this incident. Kallara Babu, Rameshan Kanhangad, Vilayodi Shivankutty, Ajayan Mannur and MN Ravunni helped me perceive Ayyankali Pada. I realized rather a lot about Kerala’s revolutionary actions by way of conversations with RK Bijuraj, a outstanding journalist who has written extensively about Kerala’s historical past of revolutions. I additionally had conversations with the then DGP Jacob Punnoose and CP Nayar to know the official proceedings that occurred following the hostage scenario. Lastly, I met WR Reddy who was held hostage by Ayyankali Pada. I met Reddy and his spouse in Hyderabad.
I had lengthy interviews with all these individuals who have been concerned in the actual incident and dug out what went by way of their minds on that day. My script was enriched by way of the main points I gained from the conversations I had with them. For me, analysis is essential for each script even when it’s pure fiction. There have been some moments of marvel throughout my analysis which I can’t reveal now. I’ve included it within the film. The movie has modified due to these particulars we received by way of analysis. One of the fascinating issues was the casting of TG Ravi as Veerachandra Menon, who was the mediator between Ayyankali Pada and the federal government. Though Menon died just a few years again, I’ve examine him and his position in that incident. When the police made threats, he really challenged the police. He was such a fearless particular person. Though I couldn’t meet him in particular person, TG Ravi was an in depth buddy of Veerachandra Menon. I didn’t have to elucidate something about Menon to Ravi as a result of he knew Menon very properly. Ravi knew Menon’s habits, his stance on points and his character. That was a blessing.
How did you preserve the steadiness between an actual incident and the calls for of a mainstream film?
I haven’t compromised something for this film. In order to maintain a lucid cinematic language, now we have made some small adjustments to the actual story. Other than that, we haven’t made any adjustments. Most of the film is predicated on the analysis I did for it. I haven’t been compelled to incorporate a tune or romantic monitor.
The actual incident occurred when the left authorities was ruling Kerala. Now when the film is releasing, a left authorities is in cost. What are you able to inform us about this coincidence?
I undoubtedly have a solution to the query, however I can’t reveal it earlier than the discharge of the film. But the film addresses this query. This coincidence that the actual occasion occurred whereas the left was ruling and the film is releasing whereas one other left authorities is ruling reveals us how these left events who got here to energy by way of varied revolts and protests cope with some points associated to marginalized communities. To see that children have to come back out towards these left events in energy as a result of a few of their unjustifiable insurance policies additionally reveals the layers of Kerala’s lengthy historical past of revolutions. I’m certain folks may also talk about what can be the results and repercussions if such an incident occurs these days.
What’s the perspective of the members of Ayyankali Pada now?
They have been satisfied about what they have been doing then they usually don’t have any regrets about their acts now. In entrance of the courtroom, they by no means argued to acquit them. That the questions they raised 25 years in the past remains to be unanswered makes them much more satisfied about what they did then. They couldn’t imagine it after I instructed them I’m doing a film on their act of revolt. Now they suppose this movie can be an acknowledgement for what they did. I used to be a university scholar when this incident occurred. Now, doing a film primarily based on what they did with mainstream and in style actors is a tribute to their efforts. With the discharge of this film, I hope folks will talk about many different protests and actions by the tribal communities. They additionally imagine this film can provoke discussions concerning the points confronted by tribal communities.
