MIFFest 2024: Interview of Jury President Suhasini Maniratnam
Join us for a relaxed yet uplifting conversation with India’s beloved actress, producer and filmmaker, Madam Suhasini Maniratnam. She’ll fill you in on all the facts you need to refresh your memory regarding women’s empowerment, films, and performances. Now all you’re missing is a steaming mug of freshly brewed coffee!
The 7th Malaysia International Film Festival (MIFFest) this year had a blast of exceptional films from all over the world, featuring films from multiple countries and languages, with the theme “Uncaged.” This year’s objective is to explore unexplored storytelling grounds, where every film has its own voice of freedom. As for the Jury President of the final stage, Madam Suhasini Maniratnam was selected, along with Mr Kong Rithdee, Mr Zhang Xianmin, Mr Felix Chong, and Mr Zul Ariffin as jury members. Madam Suhasini is one of India’s senior actresses, and a celebrated icon of Indian cinema. She has acted in over 350 films in four languages, winning multiple state awards and a national award for the film, Sindhu Bhairavi. She is famous for her exquisite performances in a variety of genres of films, giving audiences worldwide a blast of fresh air. Without exposing much of the surprises here, we are delighted to welcome Madam Suhasini for an interview session, right here at the MIFFest this year!
Niikhiil Akhiil: A good day to you, Madam Suhasini! I am Niikhiil Akhiil, journalist and film critic from Film Fest Report. How are you today, Madam!
Suhasini Maniratnam: Good day, Niikhiil. I am absolutely fine!
Niikhiil Akhiil: That’s wonderful to hear Madam. What do you think of the 7th MIFFest this year?
Suhasini Maniratnam: I used to run, or initiated, a small festival in Chennai called the Chennai International Film Festival. This festival is very similar because in India we have the International Film Festival of India (IFFI) Goa festival, the International Film Festival of Kerala (IFFK), and the MAMI Mumbai Film Festival. Our festival had a personal touch. I feel the same way here. Nobody is ignored! Everybody is looked after, given importance and made to feel special. Here, you meet like-minded filmmakers and audience members who are enthusiastic about world cinema.
So, I think Malaysia is more open to receiving international cinema than any of us. In India, our audience primarily views only Indian films. Here, a taxi driver asked me if I knew Shahrukh Khan, who is of Chinese descent. Yesterday, in a shop, a 35-year-old Malaysian woman asked, “Will you say hello to Shahrukh Khan?” As a result, they welcome other language films and regional films.
MIFFest is very special because, despite being small, it’s very professional and grand. Small and quaint, but grand in terms of execution and the way the awards are all designed. The work was executed with a high level of professionalism and infused with a personal touch.
Niikhiil Akhiil: And this is your first time serving as a jury president?
Suhasini Maniratnam: I think in 2018, I was part of the jury. I delivered my verdict, but I was unable to attend due to a family emergency. I was not there. I did my jury duty, but I was a jury member in 2018, and now I am a Jury President, yes.
Niikhiil Akhiil: That’s nice. So, what do you think of all the competition films?
Suhasini Maniratnam: All of them are special. There was not a single film that was not up to the mark. It is a tough decision for us, especially with the best film and the best director category, which was really, really tough. Some of my jury members said I’m very bad at judging the best film, with every film being the best.
Niikhiil Akhiil: Yes, I believe that every film has its own unique charm.
Suhasini Maniratnam: True, because I think it has crossed one level of judging. Only about ten films were presented to us. All the films, whether they were their first, second, or third, were exceptional gems.
Niikhiil Akhiil: So, did you manage to watch any other movies besides the competition ones?
Suhasini Maniratnam: No, we had enough time to watch these. Then we had back-to-back interviews, functions, and such, and there was no time to go out and watch the others. That’s what happens when you’re on the jury task. You can’t watch all the other films.
Niikhiil Akhiil: I understand, Madam. Across the globe, numerous initiatives have emerged to support the rise of female directors. What’s your take on the advancement of female directors?
Suhasini Maniratnam: In the past, women were only involved in roles like actresses, dancers, group dances, and makeup artists. However, it is now common to see women serving as executive producers across the globe, a testament to their ability to manage the household. Not only can they handle the finances, but they also excel in managing the interactions among family members. Similarly, in a film set up, women can easily adjust to human relations issues; they don’t get affected. Some make sure that everybody is happy. They also excel in crisis management. However, in a world where all films are dominated by men, the position of women remains constantly in question. Because again and again, all over the world, the biggest films are dominated by men. I’m not sure how things are in Malaysia, but in India, only men visit the theaters to see these films. Previously, the attendance was around 60% male and 40% female. Now, the attendance is around 80% male, with only 20% being female. Unless women start coming to the theater to see the films, we cannot expect female directors to be there. So, the problem lies with the audience.
Niikhiil Akhiil: So, are there initiatives that can be taken to address this issue?
Suhasini Maniratnam: See, it is like playing chess, listening to music, or writing. I think women, as long as they are talented, will survive. Similarly, we have directors in India such as Farah Khan, Sudha Kongara, Nandini Reddy, and numerous other mainstream directors who are making excellent movies. Previously, there were no women engineers. We now have lots of women engineers. It’s a matter of time before women become film directors too.
Niikhiil Akhiil: Thank you, Madam. Moving on to the Naam Foundation that was founded by Madam in 2010, are there any updates to notify us?
Suhasini Maniratnam: Today is our monthly meet-up, as well as our workshop. So, without me, it’s going on ‘remote control’ mode. Naam Foundation is for women’s empowerment. We need to prioritize a number of issues that are important to women. I mean, it’s not just the lower part of society that is affected; it’s any startup society. Women place their health and happiness last. They want their family to eat well and be happy, and if there are any leftovers, they will eat them. I mean, I don’t think there is any woman who makes a meal for herself. She makes meals for others. Simultaneously, she consumes the leftover food. So, we want to change that. We want women to be physically and psychologically healthy, as this will ensure the family’s well-being. Next, we focus on enhancing their financial literacy to instill confidence. We’re also looking at second jobs for them. Indian women are not familiar with the concept of second jobs. In America, they have multiple jobs. In India, they take only one job. We’re teaching them a second job and a third job. So those kinds of things. As we speak now, the monthly workshop will start in another two hours. I missed it as I am here in Malaysia with an important task.
Niikhiil Akhiil: That is sad to hear, but we are happy you are here too!
Suhasini Maniratnam: I am indeed happy while I’m here, remote controlling the workshop too!
Niikhiil Akhiil: Madam, you came from a very movie-orientated family, from your uncle, Mr. Kamal Hassan, to your father, Mr. Charuhasan, and then we know that you’ve also done some directing. Did you always desire to become a director? How did it progress?
Suhasini Maniratnam: No, I believe I wanted to do something different than the usual, normal professions. For example, an engineer, doctor, or teacher. My uncle’s career as an actor inspired me, but I never imagined that I would be in front of a camera. I thought I would be behind the camera, doing cinematography. Indeed, when I entered the film industry at the age of 16, I was too young to consider directing or writing. I used to write short poetries. Only then did I start working as a cinematographer, and accidentally, I became an actress. When I first started listening to scripts, at that moment, I thought, “Okay, I will direct.” That’s how it came—not with full confidence.
Niikhiil Akhiil: Why did you say it was accidental?
Suhasini Maniratnam: Acting, yeah, because I was a camera assistant. The film’s heroine was unable to appear at the last minute due to a contract she had with another producer. So instead of looking around, my director just caught me behind the light and gave me the role of the main lead in the film.
Niikhiil Akhiil: So, you weren’t ready at that time?
Suhasini Maniratnam: No, I wasn’t aware they were even considering it.
Niikhiil Akhiil: However, that was a blessing for us.
Suhasini Maniratnam: It was a blessing for me too!
Niikhiil Akhiil: I feel now is the right time to talk about your films. My personal favorite film of yours is Gopurangal Saayvathillai. Could you tell us how your experience working on the film was? And perhaps, in your own words, how did you select films in the Indian film industry in the early moments of your career?
Suhasini Maniratnam: Since I was a technician, looking good or glamorous was not part of my agenda. All the roles I played were realistic in nature. For instance, I starred in my first film, Nenjathai Killathe, a love triangle. In the film, I saw a failed marriage in my brother’s family. My brother and sister-in-law don’t get along, and she doesn’t want a relationship. However, Viji, the sister, falls in love with a guy and decides to marry him, despite his lack of maturity. He doubts her and exhibits possessiveness and jealousy. So, she decides not to be in a relationship, but the brother forces her to get married. So, she is married to a man, but she doesn’t behave like a typical wife. It’s not that she is infatuated with the other man, but rather, she harbors resentment towards him.
After that, I decided not to make this type of film. Love and marriage are not the only things in a woman’s life. So, director Robert-Rajasekar brought in a story of one girl and five people in the same colony in a film named Palaivana Solai. Geetha is a new arrival to the colony. As usual, all the boys are excited because there’s a girl coming. She could be girlfriend material, but she’s not. She becomes a mother to one. A sister to one. An adviser to one. She is also a godmother and a psychiatrist. For one person, they have a men-and-women relationship, but for all the others, she’s something different. When they told me the story, I said, “This is interesting! This is different.” A woman can now embody five distinct personalities, as she can become a sister, an adviser, and a godmother. She can also be a counselor. So, I was happy. And then that film becomes successful.
The director came back and said he wanted to do one more film. However, I requested to do a film without any romance. Because at 18 and 19, the only thing that they think a girl is capable of is falling in love or a man falling in love with her. So, they made a story about the concept of getting a girl married traditionally in a South Indian family, where they look after and nurture her. She is the most cherished member of the family, yet they are eager to marry her and send her back home. In Tamil, we say “Katti Kudetherevom,” which translates to “send them away.” We don’t use those terms when referring to men or boys. Even today, some NGO women say, “En ponne katti kudeterevom.” This implies that I got her married and sent her away. However, for men, it’s never the same. They say, “My son is married.” They don’t say, ‘I got him married and sent him away.” So, there is a rush to send a girl away from the family. A traditional bride-seeing ceremony served as the setting for this film named Kalyana Kalam. The groom’s family arrives to judge her, and the story unfolds from there. It was an unconventional story. At that time, I was not only pursuing unconventional projects but also participating in regular commercial films.
At that point, director Manivannan narrated a story about a girl from a village who, despite her physical appearance of being ugly and dark, is admired for her good heart. Her heart is pure, but physically she doesn’t look good. Therefore, her husband’s hatred towards her stems from the arranged marriage. But she is okay with him. She doesn’t love him, but she also doesn’t hate him, and she didn’t marry him because he was good-looking; rather, she married him because he was expected to be a decent man. So, I thought there was a role in which you had to see beyond the appearance. I said, “OK, let me be the ugly one.” And I think I made the right decision. I was the most adored individual in the world, despite being the ugly girl in the film.
Even today, people still call me “Arukkani” when I walk around. They won’t call me by my name; they’ll call me that ugly girl’s name. Of course, she transforms into a beautiful woman in the film, just as every girl is in life. That’s how you see her. In the second half of the film, Arukkani is beautiful when you see her.
Niikhiil Akhiil: Yes. This generation, primarily made up of Gen Z, has not seen this film. However, for us, the 90s kids, this film holds a special place in our hearts.
Suhasini Maniratnam: I’m glad you still remember! Even for you, it’s a very old film.
Niikhiil Akhiil: True! Perhaps it’s due to the film’s affectionate nature. I would love to move on to a special question. This is regarding Madras Talkies, the production company that has made incredible films! Could you explain the development process, how it started, and how it flourished?
Suhasini Maniratnam: My husband, Mani Ratnam, studied finance. His first film, a Kannada film named Pallavi Anu Pallavi, was produced by his uncle. The second film was a Malayalam film produced by N. G. John. His third film was produced in the Tamil language under the company Sathya Jyothi Films. They are producing films up till today. So, for the fifth film and more, he collaborated with his brother, G. Venkateswaran. After his ninth film, Mani Ratnam decided that he should produce films because he would not be answerable to others. Whether it’s a profit or a loss, he should take responsibility rather than leave it to others. Especially the loss. He didn’t want the others to struggle because he was on a mission to find different kinds of stories, genres, and categories of stories. A typical producer wouldn’t understand it. Mani lays a foundation, then slowly prepares the audience.
So, we made films like Iruvar. At that time, Iruvar was significantly ahead of its times. But now we understand why such a film was made. We also made a film titled Anjali. Commercially, it was not a success. However, in Tamil Nadu today, people refer to any differently abled child as “Anjali Papa.” In the lower strata of society, they didn’t say autistic child, or a child who is a spastic child. They just said, ‘Anjali Papa’. It had a name. It’s just like how Jayalalitha Madam gave the transgenders the name ‘Thirunangai’. Nangai refers to a woman, whereas Thirunangai is a unique type of woman. Therefore, the term ‘Anjali Papa’ was given to all special children. There is something more than theater and collection and awards. People are appreciating films and understanding that they represent a specific concept.
For example, Kaatru Veliyidai was not a successful film, but if you see it, it is happening in so many people’s lives. It deals with toxic relationships. I think it’s not my favorite film. However, when you break it down into its component parts, it is real. People didn’t appreciate it at the time, but perhaps in 10 years, they will realize its true nature. Even O Kadhal Kanmani was a joyful film. It was about a couple living together. Today, it is nothing. But you see it in terms of tradition, modernism, love and commitment. There’s a commitment phobia among the younger generation. Everything is depicted in that film.
So, when you have ideas like this, it’s just better to do it yourself. Because of the suffering of the film and the celebration of the film, you should enjoy it instead of burdening it on somebody else. That is how he created Madras Talkies.
Probably in India, he’s one of the longest standing directors. His first film was released in 1983. So, we’re in 2024 now. It has been 41 years! He has been a director for 41 years and continues to be in demand due to his unique structures. Also, he is not influenced by external noises. The noise that says that his film is bad. People make statements such as Kaatru Veliyidai is the worst film that Mani Ratnam has made. Truthfully, Kadal is all about redemption. It’s good and bad, where two individuals who are trying to be religious Messiahs, leaders, and priests. But how is one person right and the other person wrong? That’s the concept.
I believe, slowly, the audience will understand. They may initially refuse, but eventually they will.
Niikhiil Akhiil: When talking about ‘Kaatru Veliyidai’, I’m always curious about the casting. So how were Karthi and Aditi Rao Hydari chosen for the roles?
Suhasini Maniratnam: Mani Ratnam intended to depict a toxic relationship. There isn’t a negative or positive man in the relationship. However, in life, there are countless individuals who embody these qualities. Suppose two strong-minded people get together. But slowly, he changed it to the girl being docile because if both are strong and the arguments go on, it will not end. So, one person had to be docile. Maybe, the actress was chosen after my sister, who is a doctor. He was looking for someone who would resemble my sister’s porcelain skin. My sisters also have light skin, similar to that of a Pakistani or Japanese person. So, Aditi Rao Hydari was chosen.
So, the character of Varun, is actually named after a boy named Varun. So, whoever resembles Varun, Mani Ratnam decides the best candidate. Sometimes, the person he desires may not be available, or they may not be interested in the story, in which case he must find an alternative. But this is what he pictures: somebody from real life, whoever’s got a resemblance, whether in mannerism, in features, or in age.
Niikhiil Akhiil: Speaking about his films, I believe everyone has our own favorite Mani Ratnam sir’s film. What’s your favorite?
Suhasini Maniratnam: Nayakan. It has two of my favorite people, Kamal Hassan and Mani Ratnam. After that, it is Ponniyin Selvan. Both the versions in fact. The first version was magnificent, transporting us back to a time in history that we ought to treasure. The second was human drama. Both were good, with a contrast in signature, but when combined, they’re great. He set up the stage for the first one; the second one is where the human drama is. Finally, we witnessed the love story of Aditha Karikalan and Nandini.
Niikhiil Akhiil: Yes, I agree that Ponniyin Selvan I and II were phenomenal! Actually, my favorite film of Mani Ratnam sir is ‘OK Kanmani’. In the film, there is a scene where Bhavani aunty goes missing, and the couples are arguing to find her. I find it really amusing. Is there a hidden message in it?
Suhasini Maniratnam: They’re not searching for her; it’s a reflection of their desire to find commitment. They are going in the car looking for somebody, which means they’re looking for an answer to their search— the commitment. They can’t find the commitment between the two of them. So that’s what it is; I don’t think he wrote it as direct as it seems. If you witness the scene, it goes around and around. In life, we often find ourselves circling back and forth without making the right decisions. Mani Ratnam repeated this pattern in Chekka Chivantha Vaanam. In the climax, he employs the same pattern, repeating it constantly, in an attempt to elicit an openness from the brothers. The three brothers had to open up for themselves. He confuses them with their circling, so that they will come out with the truth. You can see that he’s just taking them around so that they are, literally, dizzy. They can’t think straight.
Niikhiil Akhiil: That is a precious information that you have just shared, Madam! Also, you were working as a dialogue writer in some of his films. One of the most iconic elements, in my opinion, are the witty dialogues. It has its own unique voice, inspiring us and leaving a lasting impression on our minds. How did you and he come up with the thought-provoking dialogues, and how did the structure usually develop?
Suhasini Maniratnam: I’ll give you one example. I think I started writing for him from Anjali. In Anjali, a little boy comes and shouts at all the other boys, saying, “Don’t treat my sister badly; she is my sister! She’s Anjali, I’ll protect her!”. He asked me to write that. He needed someone with that level of ferocity—a young boy so confident in himself that he could take on the entire gang. That was the first scene I wrote. Of course, he edited it and used it. At that time, my contribution was limited to a specific level.
But in Roja, when Roja goes to an Army officer, she says “My husband had been kidnapped by terrorists! I want to take him back, come what may. You will do whatever it takes to win him back!” And then I wrote, saying “What a selfish woman you are?!” Since I had just returned from Kashmir, I knew that our soldiers were guarding No Man’s Land from this side. It’s frigid there, causing frostbite and complete blindness in some of them. After experiencing slow blindness, they are required to remain in darkness for a period of three days. Otherwise, they lose their eyesight. I have personally experienced the intense struggle, so I can speak from experience. From my personal experience, I penned those lines, stating, “How many men sacrificed their lives to guard the border between Pakistan and Kashmir? Every day, I try to save and care for their lives. Your husband is just an ordinary person who has not sacrificed anything. He’s just gone there for a mission and got kidnapped. So, who should I concentrate on? Should I focus on your husband or all the soldiers who are prepared to give their lives? I am going to look for him slowly only because he’s not my priority”, he says. Till then, I wrote the dialogue. This is the line I wrote.
He listened to it. He then just came from the other side and made the girl ask, “Suppose it wasn’t my husband, but rather the chief minister’s daughter, would you say the same thing? So, how was my husband’s life different from that of the chief minister’s daughter? If it can happen to the chief minister’s daughter, then my husband can also be saved!”. That’s how he thinks. So, we work together like that, I believe. I will state the facts and he will do the twists.
We have a great working relationship, but somewhere along the way, I started to become lazy. I think family responsibilities took over and I couldn’t really be with him. I was working with him until Raavan. But after that, what he does, he writes, and then he gives me, so like a teacher, I’ll correct. With a red pen, I will correct. Sometimes, I’ll ask, “This line is so nice. Was it written by you or by me?”
But lately, I’ve been enjoying the joy of being his fan instead of a co-worker. Being a co-worker eliminates any sense of suspense. You know everything, yes, but then you’re his fan. I look at his work for the first time and I’m able to give the judgment and my reaction, so the last after Raavan, and I’ve not been really tweaking his scenes. Except when he gives me the script and I approve things, such as the Pazhuvettarayar characterization in Ponniyin Selvan. I wanted Pazhuvettarayar to be recognized as a good man from the beginning. So, there were certain dialogues which I changed, which made him look like a bad man.
I see it from a bird’s-eye point of view, actually.
Niikhiil Akhiil: This interview is going on a very interesting path! Let’s talk about your film, Indira. How did you get the chance to make it? What inspired you?
Suhasini Maniratnam: Any of my films, including this one, would focus on ideologies. It would not have been about relationships. If you take ‘Indra’, there is no relationship. It’s about an ideology. My original film was about a father-daughter relationship where they had completely different ideologies. The father was a member of the conservative Congress party. He’s a politician, a statesman who believes in nonviolence and patriotism. He emphasizes the importance of uniting as a community to drive out outsiders. His daughter, on the other hand, holds a completely different perspective, declaring that everyone is equal. It’s a father-daughter conflict. She somehow meets another man who is just the opposite of the father, and she falls in love with him. The story revolved around the conflict between the three of them. The father loves his daughter, but they can’t get along because they’re always arguing. He is adamant that this is how he achieved independence from the British – We all gathered together, clasped our hands together, and successfully drove them away. However, she believes there are enemies within, their enemy is not from outside. She is at the next level of excellence.
That’s the film I wanted to do with actress Sridevi and actor Sivaji. He agreed to do it, and I called the film Thamizhan. I wanted actor Mammootty to be there, but Sridevi was very busy and couldn’t give me any dates. Then I approached actress Rekha, but she was scared to act with Sivaji. Consequently, I had to abandon the idea, and by the time it was scheduled, it was already underway. Then, instead of waiting for the actors, I said, “Let’s do a character and get a girl to do it”. So that’s how I wrote ‘Indra’. The writing carried both social and political significance.
I remember one of my friends’ father passed away, and typically, a son, a brother, or a nephew would perform the funeral rites. However, since she was the closest to her father, she chose to perform the final rites herself. So, I’ve got a woman who defines conventional traditions. She takes charge of the situation. I thought it would be a typical scenario in India. The responsibility was handed over to her as no one else could perform the father’s rites after his death, so she took them over. She also inherited the authority he once held. He was a contestant in the election that was handed over to her. As in India, women do not take power. The power is handed over to them, and then they learn how to be assertive. Whether its Indira Gandhi or Jayalalithaa Jayaram for that matter. They didn’t take it. Someone handed it to them. So, I thought about it from there.
In Indira, she believed that children and women hold the greatest potential for bringing about any change in society. This sentiment is also echoed by NGOs in India. Since I work for different NGOs, they say, you cannot change the men. It’s not a statement or a criticism; it’s a fact. They said, “Do not try to change the men, they already have fixed ideas; only women can inspire and probably drive”. That’s precisely the idea I was hoping to convey.
For example, in a typical Indian family, the woman always comes up from the pillar and asks the guests if anyone wants coffee. A guruji was explaining that the invaders who came from Persia and were specifically targeting the women. The Indian men in the family took them underground and closed their doors. They used to peep out to see if anyone was there in the house. But two to three generations later, the men and elders forgot why women were hidden. They kept the women hidden to protect them. We have all forgotten it. Another example is when we observe a cat crossing, we interpret it as a bad omen. We don’t know the actual meaning of it because our forefathers have said it.
What I wanted was for this woman to break all those traditions without being aggressive. However, it was handed over to her. She then hopes for the next generation to take over.
Niikhiil Akhiil: I see that you have referenced actress Sridevi and actress Rekha a moment ago. On that note, who is your current favorite actress?
Suhasini Maniratnam: Now, it is Sai Pallavi and Keerthi Suresh. Nayanthara also, from the previous generation. She is actually a terrific actress. Only superstardom is a little bit of a problem for us, actresses, but the audience likes it. From a feminist point of view, I’m happy that she’s a big superstar. However, I’d like to see her in favorable roles. I like Aiswarya Rajesh, too.
Niikhiil Akhiil: We also know that you have collaborated with A. R. Rahman sir for Indira while Mani Ratnam sir consistently works with A. R. Rahman. How, in your opinion, do they work within themselves? How does the magic happen?
Suhasini Maniratnam: They are extremely talented and I think Mani Ratnam is one person who doesn’t hesitate to push A.R. Rahman to think outside the box. Other directors might come and say like, we have to do something special, make something that people really like. But I don’t think A. R. Rahman and Mani Ratnam’s compositions are like that. They talk about deeper things and then, music happens. The talk is about poetry, and I think Mani Ratnam, the way he narrates the scenes itself, is inspiring for A. R. Rahman. It’s not like it’s a peppy song or it’s a love song. It’s not like that. Mani always says that a song is another scene. In music and poetry, it’s not just a scene; it’s a communication between two or more people expressing their feelings. It’s a conversation. It could also be an exchange of emotions between two or three people. So, when they think of it as a scene, it’s also a form of music. That is very inspiring.
Niikhiil Akhiil: It is definitely inspiring to even hear about it! I’ll move on to a serious question. Cinema has two types of fans. There are those who prefer commercial films, as well as those who are more interested in artistic films. There is always a debate, with those who prefer commercial films claiming that artistic films are not within their purview, and vice versa. So, there is a gap between these groups. Do you think we should unite these fans, or leave things as they are?
Suhasini Maniratnam: I think life is too complicated for humans right now. Pre-COVID and post-COVID have led to a decline in business, making survival a significant challenge for people. I’m sure I’m living well compared to my grandfather, but my son deserves to live better than I do. It’s very, very competitive. I believe that life has become a continuous struggle. So, when the audience comes to watch a movie, they don’t want to see reality. Most of them, in fact, prefer to see a fantasy. That’s why box office films tend to focus on action where a hero is always trying to win. But that’s very pathetic.
Today’s generation grapples with the concept of a simple life, as there is no such thing as a simple life; everyone has to strive to accomplish something. It was not like that earlier in my life, where we just wanted a peaceful life. We just wanted an ordinary job. We couldn’t even afford a dog. But today, we have everything. So basically, because of that, commercial cinema continues to succeed and succeed in a bigger way.
What I would like is for the fans of commercial cinema to encourage rather than trolling or tearing art cinema apart. They don’t have patience to see the subtext. They don’t have the time for pauses in the film. So, they should try to stop analyzing and criticizing the artsy films. Those who appreciate art films should express their opinion that commercial cinema is subpar. They should have the right to express their opinion that commercial cinema, which they don’t enjoy, is utter rubbish. Now, it’s the other way around. The commercial cinema fans call experimental cinema rubbish. Also, now you have the Internet. In the past, when there was no internet, audiences would watch movies in cinemas and then return home to reminisce about the film.
But now, audiences are watching movies, and immediately during the interval, they would comment, “Horrible film, don’t see it!”. They will be posting, “Don’t waste your time! “I saw 10 minutes; please don’t watch it!” There are some who follow their advice too. So, if you say, “Please don’t see it,” nobody’s going to see it. But if you say, “See it,” they will. Because everybody’s lazy. The art film lovers won’t say, “Please don’t go see it,” because they’re serious about cinema. But at least they are able to analyze films. Fans of commercial films should strive to understand diverse cinema. They should make an effort to understand different cinemas.
It’s like learning the opera, Carnatic music, and Bharatanatyam. For example, you cannot dismiss poetry as useless because you don’t understand it. There are phrases like “Avoid reading this poetry; after only two lines, I fell asleep!” or “Don’t read Shakespeare! The words are complicated. It puts me to sleep.” You cannot say that. How can you say that? Today’s children cannot say that.
Niikhiil Akhiil: I have another common question, yet an interesting one for you, Madam. Streaming service vs. theatrical experience. What’s your take?
Suhasini Maniratnam: You know you’re watching the cricket match live. It is so beautiful, even football for the matter. But when you are watching at home, you can go to the bathroom. By the time you return, the experience has already ended, and it’s no longer the same as rewinding and watching it live. The cinema watching experience is special even today. However, people are constantly seeking convenience. Technology has changed. We don’t know how long the theatrical viewing will go on; it’s beautiful, but we have to accept the change. There is no other choice.
Niikhiil Akhiil: Madam, what advice would you give to women who aspire to pursue a career in the film industry but aren’t receiving sufficient emotional support? And what advice would you give to all the future generations who aspire to work in this highly competitive industry, particularly for women? Simply put, what message would you like to impart to inspire them?
Suhasini Maniratnam: I remember what I told my gynecologist when she was examining me. Just to distract me, she asked, ‘You’re acting and you’re directing; what is the difference between the two?’ I told her that when I am acting, I am a woman, but when I am directing, I am an animal. Because I get what I want. I am focused, and I don’t consider the pros and cons. When you are a woman in the society you are in, you take your steps very carefully. I don’t know if you lived in India and walked on the road here. In India, you have to cover yourself with fear and caution. You walk with caution. Women, when they make films, they cannot work with caution. They have to be like an animal. Do you think a cat is scared of us while it walks here and there? Do you believe that a monkey wandering around is genuinely afraid of us? When it sees a banana, it instinctively jumps to grab it. When a lioness desires a goat, she is willing to go and grab it. So, my advice to the woman is to stop thinking like a human being and start thinking like an animal. Somehow, get it.
Niikhiil Akhiil: That’s a bold answer Madam! I love it! Are you having any future thoughts of directing, or any upcoming projects?
Suhasini Maniratnam: No, not right now actually.
Niikhiil Akhiil: Thank you so much for joining this session, Madam. It has been an absolute pleasure to talk and be refreshed with all the magic that you have shared with us. On behalf of Film Fest Report, I would like to wish Madam the best of luck in your future endeavors! Have a nice day, Madam!
Suhasini Maniratnam: Thank you too for the sincere questions and wishes, have a nice day too.
Our writer Niikhiil Akhiil was on the ground at the 7th Malaysia International Film Festival.
