<p>Malayalam star Prithviraj Sukumaran, in perhaps the most exciting phase of his career, is gearing up for the release of 'Kaduva', what looks like a typical Shaji Kailas old-school, if a bit over the top, mass film.</p>.<p>In a free-wheeling chat with <span class="italic"><em>Showtime</em></span>, the versatile performer spoke about the film, his style of acting, directing Mohanlal and more. Excerpts:</p>.<p class="Question"><strong>It was Shaji Kailas' 'Narasimham' in 2000 that spurred the trend of 'masala' and star-vehicles in Malayalam. But today, the industry is at the forefront of producing new-generation films in India. Can 'Kaduva' please the newness-hungry audience?</strong></p>.<p>When I listened to the script of 'Kaduva' in 2019, the first thing that I thought was 'we sort of miss this kind of film in Malayalam'. We aren't short of great content as we consistently make cerebral, realistic cinema. I am also a fan of such films. But I would also like to see the mass entertainers happening in Malayalam. I feel this is the kind of cinema we have forgotten to make. Going by the response to the teaser, I am happy that there are a lot of people who share the same emotion as mine, who want to see something like this happening in Malayalam.</p>.<p class="Question"><strong>The film looks deeply rooted in Malayali culture. What's the rationale behind going for a pan-India release?</strong></p>.<p>At the core of it, 'Kaduva' is very much like my previous films 'Ayyappanum Koshiyum' (2020) and 'Driving Licence' (2019). It's about an ego battle between two very macho men. I think this idea is universal. Just that, 'Kaduva' is commercialised and mounted on a high-octane scale. The story is set in the 90s. I remember having a conversation with Sachy, the director of 'Ayyappanum Koshiyum'. He said the film might not connect with other language audiences because the story and the character is very much rooted in Malayalam culture. It's about a small town in Kerala where such prohibitions exist. But I was sure that what the movie spoke about would strike a chord with all and I was right. It was one of the most-travelled Malayalam films in recent times and it's been remade in many languages.</p>.<p class="Question"><strong>Before 'Driving Licence' in 2019, you experienced a lull. What changed after that? Has turning producer helped you choose better scripts?</strong></p>.<p>Setbacks in career aren't fully in your control. But once you turn producer, you have an equity in every film you do. Today, even in a film that I am not producing but acting, I hold an equity in it. I can have a say in its execution. Whereas 10 years ago, when I was acting in a film, I would hope and pray that it turns out the way it was planned. Today, I do have the liberty, and privilege in exercising a bit more control. But there is no foolproof method to avoid failures. The idea is to strike a balance between having a clear perspective on what you want to do and not being too over analytical about it.</p>.<p class="Question"><strong>You are brilliant in your explosive portrayals in 'Jana Gana Mana' and 'Ayyappanum Koshiyum'. You are at ease with comedy ('Bro Daddy') as well. How do you prepare for your roles?</strong></p>.<p>If you read Malayalam write ups about me, the common narrative is that I land up on the sets knowing everyone’s dialogues. That happens because I thoroughly study my scripts. I always join a film after deeply studying it. This process subconsciously makes you create a character arch in your head. After that, I am completely a director’s actor. I believe that the greatest actors are those who faithfully recreate what the director has in his or her mind. I absolutely love directing Mohanlal because of that. We have a conversation, and he understands what I want, and does that so beautifully. </p>.<p class="Question"><strong>You directed Mohanlal in 'Lucifer' and came up trumps. What do you suggest a new-generation filmmaker planning to direct a yesteryear star?</strong></p>.<p>Firstly, the film has to work on paper for it to work on screen. You need to understand that their stardom is a character. You may or may not like it but you can't look beyond it. In star-driven films, stardom is a character and he is going to carry that throughout the film.</p>.<p>Also, you would have grown up watching these stars. You will have these favourite throwback moments. I don’t think as filmmakers we should recreate them. Because, these legends have grown and evolved. You should be able to remind everybody that you are watching an absolute great on screen and also give them something new.</p>.<p class="Question"><strong>'Kuruthi' and 'Jana Gana Mana' are politically-charged films. Considering the times we are living in, were you apprehensive about them?</strong></p>.<p>As long as I am being objective about an issue-based film, I am okay doing it. I have a problem if a film gets labelled for having a particular opinion or narrative. For instance, 'Jana Gana Mana' talks about the system, and that it includes politicians, police, media and you. If you call it just a political film and say it leans towards one side, then it's a sign of escapism.</p>
<p>Malayalam star Prithviraj Sukumaran, in perhaps the most exciting phase of his career, is gearing up for the release of 'Kaduva', what looks like a typical Shaji Kailas old-school, if a bit over the top, mass film.</p>.<p>In a free-wheeling chat with <span class="italic"><em>Showtime</em></span>, the versatile performer spoke about the film, his style of acting, directing Mohanlal and more. Excerpts:</p>.<p class="Question"><strong>It was Shaji Kailas' 'Narasimham' in 2000 that spurred the trend of 'masala' and star-vehicles in Malayalam. But today, the industry is at the forefront of producing new-generation films in India. Can 'Kaduva' please the newness-hungry audience?</strong></p>.<p>When I listened to the script of 'Kaduva' in 2019, the first thing that I thought was 'we sort of miss this kind of film in Malayalam'. We aren't short of great content as we consistently make cerebral, realistic cinema. I am also a fan of such films. But I would also like to see the mass entertainers happening in Malayalam. I feel this is the kind of cinema we have forgotten to make. Going by the response to the teaser, I am happy that there are a lot of people who share the same emotion as mine, who want to see something like this happening in Malayalam.</p>.<p class="Question"><strong>The film looks deeply rooted in Malayali culture. What's the rationale behind going for a pan-India release?</strong></p>.<p>At the core of it, 'Kaduva' is very much like my previous films 'Ayyappanum Koshiyum' (2020) and 'Driving Licence' (2019). It's about an ego battle between two very macho men. I think this idea is universal. Just that, 'Kaduva' is commercialised and mounted on a high-octane scale. The story is set in the 90s. I remember having a conversation with Sachy, the director of 'Ayyappanum Koshiyum'. He said the film might not connect with other language audiences because the story and the character is very much rooted in Malayalam culture. It's about a small town in Kerala where such prohibitions exist. But I was sure that what the movie spoke about would strike a chord with all and I was right. It was one of the most-travelled Malayalam films in recent times and it's been remade in many languages.</p>.<p class="Question"><strong>Before 'Driving Licence' in 2019, you experienced a lull. What changed after that? Has turning producer helped you choose better scripts?</strong></p>.<p>Setbacks in career aren't fully in your control. But once you turn producer, you have an equity in every film you do. Today, even in a film that I am not producing but acting, I hold an equity in it. I can have a say in its execution. Whereas 10 years ago, when I was acting in a film, I would hope and pray that it turns out the way it was planned. Today, I do have the liberty, and privilege in exercising a bit more control. But there is no foolproof method to avoid failures. The idea is to strike a balance between having a clear perspective on what you want to do and not being too over analytical about it.</p>.<p class="Question"><strong>You are brilliant in your explosive portrayals in 'Jana Gana Mana' and 'Ayyappanum Koshiyum'. You are at ease with comedy ('Bro Daddy') as well. How do you prepare for your roles?</strong></p>.<p>If you read Malayalam write ups about me, the common narrative is that I land up on the sets knowing everyone’s dialogues. That happens because I thoroughly study my scripts. I always join a film after deeply studying it. This process subconsciously makes you create a character arch in your head. After that, I am completely a director’s actor. I believe that the greatest actors are those who faithfully recreate what the director has in his or her mind. I absolutely love directing Mohanlal because of that. We have a conversation, and he understands what I want, and does that so beautifully. </p>.<p class="Question"><strong>You directed Mohanlal in 'Lucifer' and came up trumps. What do you suggest a new-generation filmmaker planning to direct a yesteryear star?</strong></p>.<p>Firstly, the film has to work on paper for it to work on screen. You need to understand that their stardom is a character. You may or may not like it but you can't look beyond it. In star-driven films, stardom is a character and he is going to carry that throughout the film.</p>.<p>Also, you would have grown up watching these stars. You will have these favourite throwback moments. I don’t think as filmmakers we should recreate them. Because, these legends have grown and evolved. You should be able to remind everybody that you are watching an absolute great on screen and also give them something new.</p>.<p class="Question"><strong>'Kuruthi' and 'Jana Gana Mana' are politically-charged films. Considering the times we are living in, were you apprehensive about them?</strong></p>.<p>As long as I am being objective about an issue-based film, I am okay doing it. I have a problem if a film gets labelled for having a particular opinion or narrative. For instance, 'Jana Gana Mana' talks about the system, and that it includes politicians, police, media and you. If you call it just a political film and say it leans towards one side, then it's a sign of escapism.</p>