Versatility is an easy synonym to use for dancer, singer, director, producer and, of course, actor Kamal Haasan. Millions across Tamil, Telugu, Malayalam, Kannada, Hindi and even Bengali cinema have cheered the man in these avatars over the past three decades. Although modesty, the industry says, is not a Haasan attribute, HNN caught this quick-witted actor in a mood of humility
As he draws gently into his cup of tea, Kamal Haasan displays a composed look. His last movie to hit the screens, Dasavatharam, that was released nearly a year ago, set the cash registers ringing and Haasan’s satisfaction with its success is evident. “It was made with budgets that were unheard of in the Tamil film industry and it made four times the kind of money that was possible,” he says matter-of-factly of the movie that cost producer, Oscar Ravichandran Rs 60 crore and is said to have raked in over Rs 200 crore with a Hindi version ready for release.
Yet, this was one of the rare successes in a bad year for Tamil cinema, though Haasan dismisses the recession by attributing the failures solely to bad content.
A RECESSION FOR FILMS?
Haasan is not in any mood to agree with the notion that the film industry has been hit. “I have a legitimate suspicion that we are reacting in a knee-jerk manner to what is happening globally. We do not export our films like China does its furniture. Our films are largely for local consumption,” maintains Haasan, confident in the Indian cine fan who has not yet abandoned the theatres. Even if Dasavatharam was released before the socalled slowdown set in, what would people attribute the success of the Aamir Khan-starrer Ghajini to, he asks. “The question is about reacting practically to a situation. Have all sectors been affected or have food portions become smaller?” asks the actor who abhors complacency and advocates constant practice and introspection to move ahead in life. “I hope no one rationalises our prices. I live well!”
From the Tamil film industry’s point of view, times have been rough. Success rates have dropped and producers are doing a rethink on budgets. According to estimates, of 115 films that hit the theatres in 2008, as many as 100 flopped. Consequently, a lot rides on 2009 content. Even the first quarter of 2009 has not been anything to write home about with films like Villu and 1977 bombing. Tamil cinema follows the Telugu film factory in size in the South. “While the recession does not directly affect the industry, it does have an impact on collections. To a lot of people, spending on a movie ticket is not an essential expenditure,” says AVM Studios CEO SC Babu.
In fact, two of Haasan’s proposed magnum opuses, the Rs 120-crore budget Marmayogi and Marudhanayagam, another historical big ticket, have been affected. While Pyramid Saimira pulled out of the first film, the second has been in the planning for over four years. Haasan acknowledges that Marmayogi had to be shelved but clarifies it is only till he can rustle up resources. “Marmayogi is a period film and it can go on floor anytime while Marudhanayagam has the potential of a Crouching Tiger and will stand the test of time,” the star says. This confidence in his content at whatever cost of money and time is why Haasan has insisted on autonomy for his banner, Rajkamal Films. And his confidence hasn’t so far been misplaced. Of the 23 films he has produced, 21 have been hits (10 superhits). “We are ready for any scale but we are keen on maintaining our autonomy,” says Haasan emphatically.
FILMS, MENTORING ET AL
For someone who made his film debut at six, Haasan’s enthusiasm for the medium is almost infectious. “All I know about the world came to me through cinema or moving images,” says the man who religiously devotes a minimum of half a film a day, including a large chunk of world cinema, and confesses to have been deeply influenced by the works of Kurusawa, Chaplin and Truffaut.
Haasan was still in his teens when he starred as the gawky, aspiring medical student in K. Balachander’s Arangetram— a movie which sowed the seeds of a relationship which was a turning point in Haasan’s career. “Teaching is a great sacrifice. You stay in one place while the student keeps moving on. I am like a student all the time — greedy, avaricious and always eager to learn. I feel through my acting, people get a glimpse into my soul babbling away the secrets of my life. I was 18 when I joined Balachander. We have done about 35 films together though we still disagree on the numbers,” says Haasan, his laugh filling the hotel room.
Among those that stand out are Aval Oru Thodarkathai, Moondru Mudichu, Manmatha Leelai and Avargal. They also came together for the 1981 Hindi smash hit, Ek Duuje Ke Liye which was first made in Telugu. “He would produce at least 2-3 films each year. He was incredible since he was writing and directing at the same time,” says Haasan.
Haasan also acknowledges the role of TK Shanmugham, the doyen of theatre and cinema, who was the inspiration for his Avvai Shanmukhi which was later remade in Hindi as Chachi 420.
Haasan has essayed a plethora of roles in his long career. He has played a ventriloquist, an underworld don, a Bharatanatyam dancer, a dwarf, a woman, a patriot, a drunkard, a teacher healing a mentally challenged girl – the list is endless. If that was not enough, he has produced and directed films apart from being a singer on more than one instance.
NEXT?
Haasan is a man full of ideas who admits his hands are full. On the anvil is a remake of A Wednesday in Tamil — Thalaivan Irukindran, scheduled for release in June. “Walt Disney has approached me for 19 Steps and we start shooting in July,” he says. How do you choose favourites from such a multitude of roles? But Haasan makes an honest attempt. “Saagar, Hey Ram, Sagara Sangamam, Nayagan and some scenes in Virumandi,” he says. There is no best as that means complacency. “I hope I am constantly improving as an actor. What is best is passé,” he says in all humility. The bar just got higher for this quintessential performer.
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