Priyadarshan
FEET ON THREE BOATS!
Since his directorial debut in 1984, Kerala’s Priyadarshan has become synonymous with aesthetic entertainment in Malayalam, Tamil, and Hindi cinema. His latest Hindi release, Hera Pheri is a box-office success and Priyan, as he’s known among friends, is suddenly saleable in Mumbai again. In and out of the city, he tries to balance a career in three languages without falling between the differing stools and styles. Softspoken and completely devoted to cinema, Priyan is a rare blend of artistic integrity and commercial viability...

What’s the secret of your success in cinema of three languages?
See, I’ve always been a commercial director even if, as you say, my films convey a certain aesthetic integrity. Now, my film on the silk weavers in the South, is the most realistic film I’ve ever made in my life.

We don’t come across a hundred dancers cavorting suggestively in your films, do we?
Oh, you do. But I make sure the songs and dances contribute to my film. My favourite director and my guru is David Lean. He’s my Dronacharya. I am his Eklavya. Apart from him, I admire Shyam Benegal, Satyajit Ray, Gulzar and Guru Dutt. I’ve watched as many of these directors’ films as possible. I haven’t missed a single work of Ray’s. I’m also a fan of Mrinal Sen’s. Once when I was in college, I interviewed him. I am sure he doesn’t remember that today. He was my first favourite director. Then there was Bharathan, the director of Thevar Magan, which I remade as Viraasat. He passed away during the making of Thevar Magan. I admire him greatly. These are filmmakers I really love. Oh yes, and I must mention two other directors from Hindi cinema whom I really love -- Hrishikesh Mukherjee and Ramesh Sippy. I still say Indian cinema’s answer to Hollywood was Ramesh Sippy’s Sholay.

But Ramesh Sippy couldn’t make another Sholay!
That hardly matters. Even if you make one film like that, it’s a huge achievement. It isn’t necessary to make several memorable films.
But you have done that.

That’s true. But sometimes I wonder what’s the need to make so many films. I think one classic in one director’s lifetime is enough. I think Ramesh Sippy is amazing in Sholay. You know something? So many great directors fail later in their careers due to personal problems. It could be a domestic crisis.

What about a natural artistic decline?
(Firmly) No no no. That never happens. I know several directors who have gone under due to family and financial pressures. It affects their artistic calibre. I can give you 200 examples. With me it’s been smooth sailing so far, touch wood. I have a happy family life. I think three things can ruin any creative person. Women, family and money.

But women are known to be the greatest source of inspiration for all artistes?
There’s no middle path with women. Either they make or break you. My wife and my family have always been my greatest strengths.

What about the gossip linking you to various actresses?
I enjoy that. Nowadays, I am really enjoying it because whenever I am linked to someone in the gossip magazines my wife and I read about it and have a good laugh together. Gossip is my greatest source of entertainment. Beyond that, I’m not bothered about what people write about me.

They have linked you with Tabu, I believe?
They link me with Tabu. They link me with Pooja Batra. So many women. My wife and I enjoy reading about this. Journalists who write such things don’t know what a good time they are giving me and my wife. I am never offended by them.

Mohan Lal has been the main actor in your Malyalam films right from the beginning of your career. He’s the best.
Exactly. I also choose my cameraman according to the subject of my film. I never work with one cameraman. The only person in my crew whom I haven’t changed over the years is my art director Sabu Cyril. We practically grew up together. We have made a pact that the day we aren’t happy with each other, we won’t work together. As long as we work well, we’ll continue working with each other. He’s my biggest critic and I’m his.

How do you react to criticism?
I respond positively to healthy criticism. But whenever I come across unhealthy criticism I try to run the other way. Let me give you an example. In Kala Paani, my Anglo-Saxon characters spoke Scottish English. Can you believe critics said my characters spoke bad English in the film? How does one react to such criticism, except with laughter? Too bad a filmmaker is never allowed to criticize the critic.

But you’re a writer yourself, you can react to negative criticism?
Whenever I write in protest, my letters are never published. Now my journalist friends tell me it’s useless because a critic would never allow criticism against him to be published. Every critic should make at least one film in his or her lifetime.

The critics have always been kind to your films, haven’t they?
That’s true. I don’t like to talk about my films. I like to keep a low profile. Whatever I have achieved today is basically because of hard work. And I don’t think I’ve achieved anything spectacular. I have a long way to go before I sleep.

Subhash K Jha