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Poems on celluloid
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After `Nuvvosthanante Nenoddhantana', the film industry is in awe of hotshot cinematographer Venugopal
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CALLING SHOTS Cinematographer Venugopal handles the camera
With all his virtuosity in the use of visual technique, Venugopal, the four times national award winner says that he is essentially a director's cinematographer working in the tradition of character revelation through a complete knowledge of the director's craft and mind.
"It is a fact that a cameraman should not have his own style. Then every film looks the same. His style should come from the film and from the director. ," says Venugopal whose eye-catching visuals in his debut Telugu work Nuvvosthanante Nenoddhantana won much appreciation and contributed to the film's success.
"The credit goes to the film's director Prabhu Deva. I had earlier worked with him in Minsara Kanavu (Merupu Kalalu in Telugu) in which he had acted as the hero. He is highly talented. Before going to the shoot he told about his ambition--to make the film look like a poem on celluloid. A renowned choreographer, he wanted his film to proceed smoothly like a melodious song. He had created the structure and I had only filmed it," says Venu with all humility.
Words of praise
The man who had worked with the likes of G. Aravindan and Budhadev Dasgupta had a word of praise for the producer M.S. Raju who also wrote the screenplay. "He involves himself in every stage and motivates the unit by setting high standards. Naturally you have to meet the expectations. May be I just did that." Besides the controversial film maker S.J. Surya's Best Friend he is cranking the camera for Jai Chiranjeeva starring Chiranjeevi and directed by Vijaya Bhaskar for producer C. Ashwini Dutt and again for the M.S. Raju-Prabhu Deva combo for Pournami with Prabhas and Trisha in the lead.
The man who had wielded the camera for about 100 films had never shot a single frame with a still camera before enrolling himself in Film and Television Institute of India (FTII), Pune. Sounds strange but true. His connection with film industry till then was restricted to watching films screened by the film society in native Kottayam.
Venu started his career in films assisting Shaji N. Karun and the stint opened the floodgates of Malayalam cinema for the young cinematographer. "That way I am fortunate as by working with Shaji I came in contact with the greats like K.G. George, G. Aravindan and M.T. Vasudevan Nair who gave me work and encouraged me in my formative days." However, his debut film was Lenin Rajendran's Prem Nazirin Kanmanilla starring Prem Nazir on whose kidnap drama the film is based. But the film that won him his first recognition was Mani Kaul's Maatti Manus.
Awards galore
As a cinematographer he won three national awards for Amaryan, Ponthan Mada (Malayalam) and for Ms Betty's Children (English) and the debut director award for Daya (Malayalam).
"I wanted to direct a film. But Daya was not in my mind. It was M.T.Vasudevan Nair who wrote the story suggested my name to the producers. We shot the film in the deserts of Jaisalmer. It got two more national awards for costume designer and the choreographer (Brinda)," he reflects.
Venu is married to an equally talented film editor Bina Paul. The national award winner for best editing stays in Trivandram, works with the Chalchitra Academy and conducts the annual International Film Festival of Kerala (IFFK). Venu considers film art as a commercial art. He agrees that facilities available to shoot for a mainstream cinema are not available for the offbeat ventures.
"There is no art or commercial cinema. There is only good cinema or bad cinema. Only because they do not contain songs or fight sequences, such films cannot be termed as art films. I wonder when some people proclaim that they are making award films. I don't understand that. Films are made to sell otherwise where can you get back your investments," counters the man who had worked for most number of offbeat ventures sometimes parting with a part of his remuneration. "I am wise now," laughs Venu.
M.L.NARASIMHAM
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