I WILL REMAIN A STUDENT THROUGHOUT: MJ

M J RADHAKRISHNAN/K B VENU

Starting his career as a still photographer in the Eighties and finding his own unique way into the tinsel world, DOP M J Radhakrishnan, in his career spanning more than two decades, has worked with a number of young filmmakers, mostly in their maiden ventures. He has also worked with renowned filmmaker Adoor Gopalakrishnan in his latest works Naalu Pennungal and Oru Pennum Randaanum. MJ, as he is fondly called by his near and dear, is a self taught cinematographer and a man of few words. He has won the Kerala State Film Award for Best Cameraman four times (Desadanam, Karunam, Adayalangal and Bioscope) and the latest feather in his cap is the South Asian Film Award for the film Bioscope. In this interview, the maverick cinematographer, after completing his latest work Veettilekkulla Vazhi directed by Dr Biju and starring Prithviraj, shares some of his observations on filmmaking.

You have helped out a number of young filmmakers in their debut directorial ventures. Now most of the new generation movies are being made in the digital medium since the cost of production is soaring high. Do you think this will eventually become the order of the day?

The advent of digital filmmaking will definitely help aspiring movie makers in experimenting with the medium. There is a chance that this mode of filmmaking will overpower celluloid in the future. Presently, the projection has almost totally changed into digital medium. But when serious films are being made, directors might prefer celluloid. Celluloid is still my preference. It has not yet been overpowered by the digital medium in terms of visual beauty and quality.
Even after shooting the movie in celluloid it is manipulated on the editing desk with the help of digital technology. Do you think the real merit of the cinematographer is overshadowed by technical manipulation?

There is nothing wrong in manipulating images during the post production stage if the subject demands so. This is an inevitable necessity of changing times. DI can create better colour tones and many other positive results. Technology should always be used in a positive manner. In the latest film I have worked, Veettilekkulla Vazhi, we have used DI. We shot several scenes without artificial light in some regions of Rajasthan and Ladakh. We could make these scenes more beautiful with the help of DI. But the pleasure of shooting, processing and projecting a film in the natural way is unique. Bioscope, a film I shot last year in natural light, was appreciated by the laboratory people in Mumbai. They said it was one of the finest works they had seen in the past fifteen years. There was no need for DI in that film. That was an inspiring experience for me.

How do you rate young directors in Malayalam?
The director’s support is very important for a cinematographer. For example, K M Madhusoodanan who directed Bioscope is an artist. He has his own vision about the frames he wants in his film. That will definitely inspire the cinematographer in experimenting with the camera. In Malayalam cinema, new generation directors with such strong views are rare. Even those who have technical know-how are reluctant to speak out and execute their vision of the movie. Give-and-take- relation should exist between the director and cinematographer. When I did Sammohanam during the early stage of my career, I could learn from its director C P Padmakumar who had genuine and clear ideas about his frames. Though the movie was not a commercial success, I cherish it as a good work.
Do you think debutant and inexperienced filmmakers depend too much on experienced cameramen?
That is quite natural. If the cameraman is new and the director is a veteran it will just be the other way around. Any newcomer will overcome initial diffidence as time passes by.
What about your latest work, Veettilekkulla Vazhi?
Veettilekkulla Vazhi was a good experience. Apart from Karalla we shot in Rajasthan, Ladakh and Delhi. The positive aspect is that I got a Panavision camera to work with. I think this is the first ever film in Malayalam shot entirely using Panavision camera. Ladakh and Rajasthan are places where a photographer can achieve maximum tonal quality. Kerala is dominated by green tones. But in those places we get grey and brown tones in plenty. The sky too is peculiar. It is a pleasure to shoot in places with possibilities for visual experimentation. For me, nature is the main source of inspiration in creative work.
How was your experience of using Panavision camera for the whole movie?
Panavision camera has many technical advantages, including the quality of lenses. It is quite suited for taking hand held shots. In Veettilekkulla Vazhi I have taken some hand held shots. It is not only state-of-the-art equipment that determines the quality of a movie. So many factors should work harmoniously. For example, the shooting must take place in the appropriate time when nature is conducive. Unfortunately that rarely happens.
What about the stock?
While doing Kaliyattom directed by Jayaraj, the art director of the movie portrayed me in a cartoon. In it I was seen carrying a bundle of firewood. Another fellow points his finger at me and describes to his friend: “Look, there goes the cameraman who shoots without lights!” In fact I shot such low budget movies in natural lights because I have absolute faith in Kodak.

You are leading a busy life as cinematographer doing film after film. How do you find this phase of your profession?

I enjoy my career now. Doing a new film means going to new places, meeting different people and interacting with them. Most important is understanding and sharing another person’s thoughts. Cinematography is also about understanding others. The cinematographer’s job is to translate some body else’s thoughts into celluloid frames.


Lavishness and luxury of cinema is a matter of hot discussion in Kerala these days. You are known for your lenience towards low budget movies. How do you view the present state of affairs in Malayalam cinema?

Most of the directors who approach me generally have low budget projects. In such films I do compromises in such a way that it doesn’t affect the quality of my work. I think that is necessary. Otherwise there won’t be good films in Malayalam. It is a fact that a cinematographer will get quality equipment and atmosphere in mainstream projects. But the satisfaction he gets after making a visually rich movie with a shoe string budget is much greater.


It is observed that Malayalam cinema is losing its spirit of experimentation. What do you think is the reason for this deterioration?
Youngsters with a longing for experimentation rarely come forward. Even though some young directors begin their career in a humble manner, they shift themselves to the mainstream and its luxurious style of filmmaking after two films. We have a number of talented cinematographers too. But many of them move to Bollywood and Kollywood because it takes years for them to establish themselves in Malayalam cinema. They can at least enjoy monetary gains in other States even though they don’t get recognized. Here they get neither fame nor money.
Many senior cameramen too work profusely in other languages. Aren’t you working in other languages too?
I did a Hindi film called Ek Alag Mausam by K P Sasi, a Malayalee director. Now I have completed shooting a Tamil film directed by Leena Manimekhalai. It is based on Sri Lankan issues. But I would like to remain in Kerala doing Malayalam films. My roots run deep here.
Any directorial ambitions?
Directing a movie means taking up heavier responsibilities. I haven’t thought of a directorial venture till now. All I want is to be different in each film. I try to experiment with all aspects of cinematography, depending on the mood of each film. I am still in the process of learning my art. And I will remain a student throughout my career.