As a fervent admirer of the enchanting world of cinema, I find myself deeply moved by the profound insights and experiences shared by the talented individuals featured in this article. Their journeys serve as a testament to the transformative power of art, and the indelible imprint it leaves on both the creator and audience alike.
More casually: Parvathy Thiruvothu was just awarded Best Actress at the 15th Indian Film Festival of Melbourne (IFFM) 2024 for her fantastic performance in Ullozhukku. In a special chat with TopMob, Parvathy talks about the one-of-a-kind filming experience at director Christo Tomy’s residence, her initial reservations about taking on the role, and how she finally decided to join the project.
Additionally, she provides perspectives on working alongside Chiyaan Vikram and Pa Ranjith in Thangalaan, her opinions on prevailing tendencies in Malayalam filmmaking, and her aspirations for the sector’s future, focusing especially on women’s presence and participation.
Have you encountered any difficulties when preparing for roles that require strong emotional depth, considering you’ve recently won the Best Actress award at the Indian Film Festival Of Melbourne for your performance in Ullozhukku (Undercurrent)?
As a lifestyle expert, I constantly adapt my approach when taking on dramatic roles. Each script presents its own unique challenges and opportunities, and working with different directors brings about distinct variations in the final portrayal of the character.
With Undercurrent, the task proved particularly difficult due to Christo’s highly collaborative nature. Unlike traditional methods, he didn’t have a rigid approach for creating characters. Yet, upon closer inspection, it reveals an intricate exploration into the art of character development, offering ample room for subtle nuances that required careful handling of pauses and moments of silence, which were rich with implicit information.
Each pause or moment of stillness between phrases, expressions, or actions often carries feelings such as sorrow, bewilderment, or enlightenment. Consequently, we had to meticulously decipher what those pauses signified, making it an exceptionally challenging task for me to comprehend and empathize with her character. In essence, this journey served as my starting point to delve deeper into her world. Moreover, I would describe this narrative as…
Everyone would say, oh, physical challenges must have been easy, like, because there isn’t exactly, visibly, a lot of physical challenges, right? Pretty much all of us are static, and we are just talking, but there is a lot of physical challenge in playing Anju and Leelamma, too, because even in their stillness, there is so much of suffocation that they’re holding in their bodies and in that, even if on the day of the shoot or anything, you can’t let go of that you have to embody that in your physical presence, of how much the mental suffocation translates onto your face, onto your arms, on your neck, and you have to let it happen. You have to let that suffocation be shown physically. And that is not an easy thing to achieve, which I hope was achieved.
Question: What was the toughest part about playing the character Anju in Ullozhukku, and how did you overcome these difficulties?
As I immersed myself in this captivating narrative, I found myself not just observing, but living and learning alongside the protagonist, Anju. Each day presented a fresh set of obstacles for her, and in turn, a new challenge for me to navigate our shared journey. It wasn’t about solving an equation that would grant me insight into her life; it was about walking the same slippery path she tread, one step at a time. Every day was a unique exploration, helping me grow closer to understanding Anju and myself in the process.
Q. Given that Ullozhukku was favorably received, what are your thoughts on the audience’s feedback towards your act?
1. I’m over-the-moon ecstatic, feeling as if I’ve conquered both the Earth and the moon. This triumph isn’t just for me or Christo; I believe it’s a victory for cinema. When films like this become box office sensations, they earn critical acclaim, praise, and discussion. This encourages more filmmakers and actors to create similar movies without fear of market constraints or budget limitations. Consequently, our visual landscape becomes enriched with such films, stories like these are told, and we cultivate greater empathy within society. That’s my hope.
What was it like to shoot the movie “Ullozhukku” (Undercurrent) at Christo Tomy’s residence?
For the first 20 days of filming, none of us realized it was his home. It came as quite a surprise to many of us at the time. I didn’t suspect it earlier since I assumed we were always using locations, which is typically the case.
Later on, I discovered that the house belonged to his grandmother, leaving me bewildered as Christo was already mind-blowing. If you’ve watched his interviews, he comes off as gentle and articulate, clearly expressing his thoughts. Yet, there is a shadowy side to his work, which intrigued me even more. This duality in him left me amazed, and it didn’t shock me that he failed to mention the house was his since such details seemed insignificant to him.
There’s nothing extravagant or exaggerated about it; he takes his decisions quite nonchalantly, but they are deeply significant ones. I eventually realized that he chose the location because the women he depicted were based on real-life experiences, women he had observed and encountered during his upbringing. It seems plausible that the place held a special significance for him, as it was where these stories originated.
A. I understand that there were rumors that you declined the offer for Ullozhukku (Undercurrent) at first. Can you share how you eventually agreed to be part of this project?
1. Christo’s narration captivated me instantly, but during that period of my life, I doubted my ability to portray the character convincingly. Consequently, my initial response was a resounding No. However, it might have seemed to Christo that I disliked the script, which wasn’t the case at all.
There were some discussions on some parts of the screenplay where I got on a call with him and I told him, this area feels like this, or this is good. I felt I could be better or whatever. And after that, about four years later, I kept hearing from Christo about the progress of the film once or twice. But at the end, when I got in touch with him, he said, “There’s been some changes in the screenplay, and there is a new producer on board. Would you like to read it again?” And now four years have passed by, so I really wanted to give it a read again, and I was in a different place in my life.
Having spent years in the film industry, I’ve learned that sometimes reading a script can be challenging, especially when it comes to comprehending complex narratives or understanding subtle nuances. So, when I encountered a particularly difficult-to-understand part in a recent script, instead of struggling through it, I did something different. I called up an old friend and asked him to meet me at a local café. After catching up on life, I asked him to finish reading the rest of the script for me, knowing his keen eye for detail would help me understand the story better. To my delight, he informed me that Urvashi was considering taking on this project. Instantly, my excitement level soared, and I enthusiastically agreed to join her without hesitation. I knew that if she was involved, it was a surefire hit, and I wouldn’t want to miss out on being part of such an exceptional production. That’s how I got myself on board for this exciting new venture!
1. Could you share some insights about working alongside Chiyaan Vikram and Pa Ranjith on the movie ‘Thangalaan’? What valuable lessons did you pick up from them while on set?
1. It takes several months, if not years, to fully grasp the lessons from past experiences. Regarding Vikram, I’d say the initial stage of comprehension is realizing how extraordinarily generous he is as an actor, whether it’s towards his co-stars or directors. He understands the depths and madness he immerses himself in to embody a character, and on a personal level, I share this trait with him.
As a lifestyle expert, I find myself greatly inspired by Vikram’s extensive experience and remarkable work. Working alongside him felt like being part of an engaging narrative. His presence significantly amplified my own performance, making it more vibrant and impactful than it would have been otherwise. It was truly a collaborative journey that we embarked upon together.
A. What’s your opinion about the recent developments in Malayalam films, and where do you think they might be headed over the next few years?
1. At the beginning of this year, we launched Aattam, a film that recently received the National Award for Best Feature Film. I believe it’s a strong indication of where cinema is heading. With films like Aattam, Bramayugam, Manjummel Boys, Ullozhukku to Aavesham, the range of stories being told has significantly expanded.
The future landscape seems ripe for us to charge ahead with an array of new movie genres. Confidently, I predict we’ll be venturing into uncharted territories. Our recent box office triumphs have certainly fueled our courage and ambition. I eagerly anticipate tackling even more daring projects in the future. I wish for Malayalam cinema to continue breaking boundaries, as it consistently does, albeit with an extra edge. Furthermore, I hope to see a surge of female filmmakers stepping into the limelight, not just as creators, but also as subjects being portrayed.
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2024-08-20 17:11