Mani Ratnam interview: Doing pan-Indian films is not a trap, but a choice
The Hindu
Legendary filmmaker Mani Ratnam speaks about his upcoming ‘Ponniyin Selvan 2,’ the liberty he took with Kalki’s work, and why he doesn’t like using the term ‘woods’ to denote the multiple Indian film industries
During the promotions of Ponniyin Selvan 1, Mani Ratnam recalled how his first tryst with Kalki’s novel was from a book borrowed from Gopalapuram’s Easwari Lending Library, which was a childhood favourite haunt of mine. Having grown up patronising the iconic Chennai shop, I begin my conversation with the veteran filmmaker mentioning this.
“I was around 15 years old when I was lent a book from there. The age around when I left school, I suppose,” says Mani Ratnam who, after being in the industry for 40 years, has now come up with his first film sequel with Ponniyin Selvan: 2.
Excerpts from an interview:
I don’t know if a film can be made targeting a specific type of audience. You go to a dark theatre, watch with the people around you, and all you get is the response. You’re a part of that experience. I don’t think I’ve done any film keeping a particular sector in mind. I feel like I’m making a film for myself as an audience member; I have just tried to capture how I see Ponniyin Selvan.
ALSO READ: ‘Ponniyin Selvan: 1’ movie review: Epic story gets Mani Ratnam’s royal treatment
The complete story happens because of Karikalan; his love for Nandini, how she was separated from him, and how she teams up with the Pandyas to take revenge. This is the story of Ponniyin Selvan. Overall, it’s the story of Karikalan and Nandini. Karikalan, in history, was killed. How it could have happened is how Kalki dramatises Ponniyin Selvan.
I think we just needed a trigger point to create that spark. Kalki’s novel has always created interest and this film will probably help the current generation reach back. But reaching back to our roots is inborn. It’s important to know where we’re from, what we have achieved, our heritage, literature and music.
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