“For me, it’s a labour of love,” says Agnisakshi fame director Shyamaprasad, speaking about his latest film Akale. Akale, meaning ‘In The Distance’ is ready for release and focuses on distances - in space as well as in time.
Akale tells the story of an Anglo-Indian family consisting of three members - an elderly lady Margaret D’Costa, her son Neil and daughter Rose. Margaret is much worried about her daughter who is crippled and very much shy too. She is constantly thinking of getting her married off to someone who is eligible and not a drunkard like Rose’s father who had left them and gone off long ago. Neil, meanwhile, is a dreamer of sorts who yearns to become a writer in future. But he is forced to bury his dreams in the morass of familial responsibilities and take up a job in a warehouse, which is very much a drudgery for him. The entry of another youth - Freddie Evans, a friend of Neil, into their lives changes the course of the story.
Sheela, who had made a very successful comeback with Manassinakkare, plays the character of Margaret while Prithviraj is cast as Neil and Geethu Mohandas is Rose. Tom George, who also produces the film, plays a very key role as Freddie Evans. Akale, inspired by Tennessee Williams’ classic play The Glass Menagerie, has screenplay and dialogues penned by the director himself. Noted cinematographer S Kumar lends his expertise in the making of the film. While debutante Raja Unnithan does the art-direction, Vinod Sukumaran is in charge of editing. Though the film doesn’t feature any songs, a music video consisting of songs based on the theme of the film has been shot separately and is being beamed on television channels at present. The songs in this album, penned by Gireesh Puthencherry and set to tune by M Jayachandran, have already turned popular. Akale, produced by Tom George under the banner of Kolath Films Inc., has been shot at Kannur in Kerala and also in Kolkata.
SHYAMAPRASAD
Evolution
Agnisakshi fame director Shyamaprasad has always been adapting works of famous writers. While he had earlier adapted works of Albert Camus, Madhavi-kutty, P Surendran, N Mohanan, Anton Chekov on the small screen, he shot to fame by making his debut feature film Agnisakshi, based on the much acclaimed novel of the same name by noted Malayalam writer Lalithambika Antarjanam. And then he adapted SL Puram Sadanandan’s popular play Kallu Kondoru Pennun and then went on to adapt Ganga Prasad Vimal’s Hindi novel Mrigantak as Bokshu the Myth, Shyamaprasad’s first international project. And now, he has adapted Tennessee Williams’ The Glass Menagerie as Akale. In an interview given recently to Screen, Shyamaprasad speaks in detail about Akale and its making...
What made you think of adapting The Glass Menagerie on celluloid?
I have always been fascinated by the play. 20 years back, when I was a student in the drama school, I had reproduced the play on stage as my diploma production. And after that I had thought of recreating it for television. I had written some five or six versions of the script. Anyhow, my plan to reproduce it on the mini screen did not materialise and in the meantime the thought was always in me. And now, 20 years after I had done it on stage, I am doing it on celluloid. By this time, the story has gradually evolved in me and taken this form.
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For me, Akale is a labour of love. It is a very detailed, very meticulous work. I have done it with sort of a passion for the story itself. All the actors and the technicians who have contributed to the making of the film too have done their part of the job with the same kind of love and passion.
Could you elaborate upon the theme from your perspective?
It’s a very intimate kind of story. The characters of the story are living in a world of their own - totally cut off from the realities in the world surrounding them. It is then that someone who connects or relates them to realities makes his entry. The plot develops through a mother who is always dreaming about marrying off her daughter, a son who is of a poetic mould and who is unfortunately caught in a web of responsibilities and a daughter who is trapped in a very private world of her own. And the story of the film is presented from the perspective of the son who pens down his past much later after turning a writer himself.
Wasn’t it sort of a challenge, recreating such an acclaimed play on celluloid?
Sure it was. The main thing was that there are only four characters. And the story is about certain people who are trapped in a menagerie. So the challenge was to reproduce the subject in a manner that is not too arty and at the same time without losing the artistic appeal. I believe we have succeeded in meeting this challenge and have come out very successful. The film is one which retains much of artistic integrity. And I must take this occasion to mention that the producer has given me immense support in the making of the film.
What, in your view, is the highlight of Akale?
I would say that fragility is the highlight of Akale. The story has been presented with the Anglo-Indian community as the backdrop. But anyhow that’s of least importance since the theme has universal significance. But the inclusion of this element has helped us in creating an old-world charm in the film. The film is also likely to be noticed on account of its technical brilliance.
It was 20 years ago that you had done the play on stage. And now, 20 years later, how do you feel while recreating it on celluloid?
20 years ago, I was a young man, identifying more with Neil. And now, 20 years later, in my 40s, I am more matured and able to understand the story better and from the perspective of the other characters too. And at this stage, I am able to understand the mother too in a better way.
Could you comment on the commercial prospects of the film?
The film tells a very touching story. It also features the best of artists and technicians too. Akale is very simple and communicative. Hence I have no doubts about the film’s commercial success.
You have always maintained that films cannot be classified as art and commercial and that films are to be identified with the makers, whose stamp would be there in their respective films. So, in which aspect of Akale can we see the Shyamaprasad stamp?
In every frame, in every department. A director is not just someone who manipulates artists and others. His presence is there throughout the film and would be felt in each and every frame. This unseen presence is what renders the film with his stamp.
You have released a music video based on Akale. Could you elaborate on that?
The music video titled Akale is inspired from the film. Lyrics by Gireesh Puthencherry have been set to tune by M Jayachandran. This album is totally independent of the film, which, anyhow, doesn’t feature a single song. The film and the album are intended to cross-promote each other. And the songs of the album have already started getting noticed.
What about your last film, Bokshu the Myth? When is it getting released?
Most likely in July. We are planning an international release.
What next?
I am presently busy with my responsibilities as the President, Programmes at Amrita TV, the new Malayalam Channel which is going to be launched soon. And hence I may not do a film in the near future. Anyhow, I have some projects in mind, which have been announced earlier. Things have to be worked out.