Vidyarthikale Ithile Ithile Part 3 - Arrival of Bala Mahendran at Madras

One day while walking towards our Producer Minnal's office at Wallajah Road, Triplicane, a tall lean man approached me. When he came near I recognized him, it was Bala Mahendran with out his French beard. I had known him at the Institute as he was my senior by one year and was also  the batch mate of John Abraham and Azad. During the Institute days he had a different look with  receding hair and a French beard  and had not started wearing his trade mark cap. He was mostly  found in the company of foreign students since he was a native  of Ceylon. Even though most of the time he spoke in English, since his name was Bala Mahendran I guessed that he must be knowing Tamil and I used to speak to him in Tamil when ever I met  him on a few  occasions. He was a reclusive person and had only a few friends mostly foreigners and some South Indians at the Institute. His peers at the Institute told me that he was such a romantic person that even when he visited Budhawar Peth Red light  area he used to take flowers, kaajal, bras etc as gifts to his regular  girls there.

 

Bala Mahendran

A tired looking Balu was extremely  happy to see me at Wallajah Road and narrated his sad condition.  D. Gautaman, his senior at the Institute in  Direction  who was working as assistant to Director Ramu Kariat had recommended Bala Mahendran for his next colour film NELLU. Hoping that the film will start soon, Bala arrived in Madras and was staying with some distant relatives. The start of the film got delayed and with no income, his relatives were about to show him the door. He was on the look out for alternate accommodation and  had no money as Ramu Kariat had gone to Kerala for the shooting of another film. He also didn't have much friends at Madras and was roaming around. It was then he happened to see me on Wallajah road.  On learning about his pathetic condition, I offered to take him up with me for staying in our producer's flat at Mahalingapuram. At that time there was a break in our shooting schedule and all others like John, Azad etc  had left for their native places and I was living there alone and it was easy to accommodate him there.

My producer Minnal on his way to his office used to come there and   give me  money  for the day's food expenses and I used that amount to feed both of us. After a few days I had to go home for Deepavali  and Bala could not be left there as  he was not in a position to meet his daily expenses in my absence. So I decided to take him along  with me to my  home at  Maduranthakam which was 50 miles away from Madras. There he stayed for a few days with my family and then we returned to Madras together. Soon  Ramu Kariat returned from his Kerala location shooting and Bala managed to get some money and found alternate accommodation, but he still remained unemployed.

In the mean time myself and Kasturi Kurthy  had to go Poona for my Viva Voce  examinations. But a few days of the busy actress Jaya Bharathi was available and all of a sudden the shooting of a song sequence was planned on the same dates. So I had to find an alternate cameraman to do the  work  in my absence. Since Bala was from the Institute and  batch mate of John and Azad, I suggested to let Bala do the work.  John preferred some one from the Institute and he accepted Bala. Thus Bala started his career in feature films  by cranking the camera under the direction of  John Abraham for a song picturisation sequence in the film VIDYARTHIKALE ITHILE ITHILE.

The film Nellu took still longer to materialize and Bala used to visit us often as we were all from the Poona Film Institute. K.G.George who had joined Ramu Kariat also was part of our group.  In the meantime Director P.N.Menon was on the lookout for a cameraman for his B&W Malayalam film " PANIMUDAKKU " ( Strike). Bala got the break to work as an independent cameraman for a feature film.The film was to be shot in a place called Puthukkad near Trichur, Kerala. At that time Bala didn't have  an exposure meter the essential tool for any cameraman. He didn't have the money to buy one either and even if he had, he need to place an order with the Xaca company at Mount road and it will take weeks to arrive from Bombay.

Since I wasn't shooting at that time, I lent him my own exposure meter and also sent my friend Kasturi Murthy who was working with me to be his assistant for the film. After the shooting started, from the money  I obtained from the producers of that film I purchased a new Sekonic exposure meter and sent it over to Bala's location.  Kasturi Murthy later kept on associated with him for  many of Bala's films.

The film NELLU  still needed more time  to materialize, but soon  Ramu Kariat started a B&W film MAYA and gave Bala the opportunity to work with him. Ramu Kariat was the main  reason behind Bala coming to India from Ceylon.  Meanwhile he had changed his name into Balu Mahendra and is now known only by that name.

In spite of having done this much for him he had  never  shown the courtesy of inviting me inside his  home on the two or three occasions that I visited his residence at  Madras. He always met me at the gate and saw me off, never letting me in. Strange!

May be he was too much  protective or possessive   about his family !

John Abraham plans his first Feature film

When the strike at the Institute got extended for a long time, our parents were instructed by the authorities to take us back home, to cool our tempers. While at home I was informed that John Abraham is planning to direct a Malayalam film based on a script by M. Azad and both of them were at Madras. So I went there and met them. They had in mind to have S. Ramachandra as the Cinematographer for the film as he was a close friend and room mate of Azad. They have offered me an opportunity to work as an assistant cameraman in that film. Since I have still not completed the course and was looking for an opening to enter the film industry, I readily agreed to their proposal so that I can get familiar with the working methods in Malayalam films.

Azad and John in serious discussion

In a jovial mood

The producer was Mr. Minnal, who was running an AD Agency called Mars Advertising Company located at 49, Wallajah Road, Triplicane. The Malayalam film titled "VIDYARTHIKALE ITHILE ITHILE" was to be produced under the banner Mehboob Movies. At that time both John and Azad were staying there in the office itself and were working on the script as the dates of the shooting schedule have not yet been fixed.

After my return to the Institute the strike prolonged for some more time and finally ended as the Government had agreed to constitute an enquiry commission. Our courses were nearing completion and I was wondering about the future, whether to try my luck in the Bombay film industry or in the Madras film field. In those days Film Institute graduates had a tough time finding work as they were thought to have only bookish knowledge and no practical experience. They had to struggle for some years assisting the veterans in the industry before they get a break. Though I was offered a job at the Hindustan Thompson AD agency, I declined because the work involved was only making sample films in 16mm for clients to view and I was more interested in doing feature films.

I was thinking of going down south at Madras which was a much familiar city to me as I had done my graduation from Loyola College there. Also there was no language problem too as I had my schooling in Tamil medium. Then I received a letter from John and Azad saying that they have decided to give me a break in the film as the principal cinematographer! It came as a great surprise as I was offered this film directly without working as an assistant to anybody at any capacity in the film industry and that too before the completion of my final examinations. I was really lucky indeed to have got such an easy entry in films ! I asked my old room mate and batch mate Kasturi Ramachandra Murthy, who was also keen on going to Madras to work as my assistant in the film and he readily agreed to my proposal and joined me.

Letter from John

After a few days I received the official letter from the producer confirming that the shooting is scheduled from 5 th June 1971 on wards and I was expected to be in Madras on the 1st of June to attend the pre-production work.

Producer's Letter

My Practical Examinations and Viva Voce were not over when I started my career as a Cinematographer in the film industry. After shooting the first schedule of the film, myself and Murthy returned to Poona finish our exams!

Bye Dear Ramu…..

It is with a painful heart that I write these words on learning that my dear mentor and friend Ramu (Cinematographer S. Ramachandra) had left this world on the 10 th January, 2011. He was one of the first few persons with whom I came in to contact at the Film Institute of India in 1968, when I joined in the Motion picture Photography course. He was then studying in the second year Motion picture Photography course and was the room mate of M. Azad (Screenplay writing Course). Hailing from Kerala, my seniors Azad and Kabeer Raother (Direction) took natural interest in me and was always there to help me to cope with the new environment at the Institute. Being the room mate of Azad and a fellow South Indian, he joined them to become my local guardians at Poona. Ramu, as I used to call him, was a charming personality with attractive eyes and long hair. He was very much attached to his friend and room mate, M. Azad and vice -verse.

When Azad got his first break as Script writer for John Abraham’s maiden Malayalam film “VIDYARTHIKALE ITHILE ITHILE”(1972) , he had in mind to engage Ramu as its Cinematographer. During the pre-production days they asked me whether I was willing to work as assistant to him in that film and I readily agreed with their offer. But later on finding too many scenes to be shot in the streets with hand held camera they thought Ramu might find it difficult to cope up with his Polio affliction. Ultimately they asked me to be their Cinematographer and I got my first break in the Malayalam film industry. Since John and Azad never had any previous discussion regarding the project with Ramu, he never came to know about it!

Myself and Ramu used to get in touch with each other through letters – he writes long and interesting letters –which arrive after long intervals. We also used to occasionally meet with each other at some of the International Film Festival venues. I remember one occasion, when he came to International Film Festival of Kerala with the film DWEEPA (1982) along with Director Girish Kasaravalli and the late Actress Producer Soundarya. We had a wonderful time catching up with each other's activities. The last time I met him was at Bangaluru in 2006 when he was felicitated by the Suchitra Film Society for being honoured with Karanataka Government Lifetime Achievement Award. At that time I was attending the Bangalore International Film Festival where my short film “CINEKU” was being screened. Afterwards at the party at the Cricket Stadium we renewed our friendship by filling up missing details regarding our work and news about mutual friends.

Last year while I was working in the Malayalam film “INGANAYUM ORAAL” for the first time with our old mutual friend Director Kabeer Raother, he inquired about Ramu’s whereabouts. From the shooting location I called Ramu at Bangaluru and handed over the phone to Kabeer as a surprise. That was the last time I had talked with him. I never had any hint that he was fighting a deadly enemy like cancer and it came as a big shock to me that he had passed away so suddenly. I felt as if I had lost somebody from my own family, for he was so close to my heart as friend, philosopher and guide.

I convey my heartfelt grief and condolences to Ramu’s bereaved family members and friends and pray for his soul to Rest In Peace.

A brief Bio-data :

S. Ramachandra (Shivaramaiah Ramachandra Aithal ) passed out from the Film Institute of India, Poona in 1970. He along with Directors like B.V.Karanth, Girish Karnad, G.V.Iyer and Girish Kasaravalli were the architects of the new wave Kannada cinema movement which took the Kannada film industry to heights during the seventies. S.Ramachandra started off his career as a cinematographer in films with SANKALPA directed by Nanjaraja Urs.

He won the Best cameraman award five times and the Lifetime Achievement Award from the Karnataka State government in 2006. He won National Film Award for Best Cinematography in 1977 for Kannada film RISHYA SHRINGA. He had worked as a cinematographer in many films directed by Girish Kasaravalli which brought him much appreciation. He started off working with Girish in his first Swarna Kamal award winning film GHATASHRADHDHA. Later he worked in MANE, KROURYA, NAAYI NERALU, HASEENA and GULABI TALKIES. He was one of the pillars of the New Wave cinema movement in the Kannada film industry. His work in the TV series MALGUDI DAYS (1987) translated in to visuals the writings of the great writer R.K.Laxman and made millions of viewers from all over India to stay glued to their T.V sets feeling as if they were living in the village of Malgudi!

Even a few days before his death, he worked in BETTADA JEEVA directed by well known award winning director P. Sheshadri. This is perhaps his last film as a cinematographer.

Filmography;

This is a partial list of films:

Chomana Dudi (1975)

Rushya Shringa (1976)

Ghatashraddha (1977)

Akramana (1979)

Malgudi Days(1987) TV series

Mane (1991)

Deveeri (1999)

Mukhaputa (2009)

Pallavi,

Grahana,

Kankana,

Rushya Shringa,

Anveshane,

Banker Margayya,

Santha Shishunala Sharief,

Gandharva Giri,

Hombisilu,

Bettale Seve,

Nya Geddithu,

Mudhudidha Tavara Aralithu

Mane

Krourya

Naayi Neralu

Haseena

Gulabi Talkies

AZAD and the BHANG Story

Azad had come back again to the Institute for the Convocation and he was staying as a guest in my room. He used to smoke beedi and some times smoked ganja also which was available at very cheap rates. Since I do not smoke he purchased some Bhang from a shop, for the first time and told me that this will take me high. Bhang is a preparation made from the leaves and flowers (buds) of the cannabis plant consumed with sweets or mixed with almonds,spices, milk and sugar as Thandai during the Holi festival season. It was also sold as green Halwa and sweets are said to enhance the kick of Bhang. These are not considered a drug, but a traditional sleeping aid and appetizer. Sadhus and Sufis use Bhang to boost meditation and to achieve transcendental states.

He had brought four Goli’s ( balls) of Bhang. Since I have never taken it before, I asked my friend Sahu on the modus operandi of taking Bhang. I gave one goli to him but I took only half a goli mixed with milk and sugar since I was cautious about this unknown substance. Afterwards we both went to Law College mess and had our Sunday lunch with sweets. While taking food I jokingly told Sahu that the Bhang had no effect on me.

But while we were walking back along the Law College road, I felt some changes taking place. The road seemed endless and I felt I had been walking for hours and still not reaching our hostel. After a while I found that I am watching myself on a screen in Mid Shot walking and walking with the background passing just like a back projection process shot. Somehow, I reached my hostel room and lied down on my bed. The room seemed to twist and take a distorted strange shape. I felt as if my body was made of plastic, then iron, ice and of different materials. Slowly I sank into deep sleep. Some hours later I woke up and I found myself normal as the psychedelic effect of Bhang had worn off.

Late in the evening Azad came to my room along with another friend Verghese who was working at the Film Archives. I explained to them the effect Bhang had on me. Azad laughed it off saying that it was because, I was a non-smoker of Ganja, Bhang had more effect on me. He and Verghese each consumed on goli (ball) of Bhang mixed with milk. After an hour of chit chat Azad again took the remaining half a goli too saying that this Bhang had no kick at all for a veteran Ganja smoker like him and felt it as a waste of money. If he had purchased Ganja instead of the Bhang, by that time he would have been floating on the clouds.

At that time a Hindi feature film shooting had been going on in our campus starring Asha Parekh and others from Bombay. We all went to watch the shooting taking place at the exterior of our sound studio. The lighting was being done on the exterior staircase of the studio. When it was over, the star of the day, Asha Parekh came and stood there in position for the final lighting corrections. Azad whispered in my ears that how many Asha Parekhs are there? I said, only one. But he said he was seeing multiple figure of her standing at each and every step! When he asked Verghese, he also confirmed that he too was seeing multiple figures. Both felt that something was happening to them and wanted to get back to the hostel room. As I was interested in watching the shooting going on, I gave them my room key and asked them to take rest and I will join them soon.

After some time, Sahu came rushing to me saying that something had happened to these two fellows as they were at the hostel calling police, police etc. Immediately I went there and on seeing me both of the rushed towards me and pleaded please help us, please. It was this "please" which was misunderstood as "Police" by the students who gathered at the commotion! I told the onlookers that there was no problem and it was the effect of Bhang. I took both of them in to my room and asked them what had happened.

Azad explained to me that as soon as he reached my room and tried to open the lock he found the black iron lock shine like a diamond. When they entered the room the walls stood at odd angles and the room took a distorted shape. They both started singing songs to get away from the weird feeling. Azad went near the window and looked down and saw an Ambassador car on the road. Spontaneously he composed a Malayalam poem about the Ambassador car and started reciting it and they were having a nice time. Suddenly he was gripped with an unknown fear that he was going to die soon. He wanted to see his mother who lived in Kerala at least once before he died. Hearing that Verghese was also haunted by similar feelings of death and they both started crying holding on to each other. Then they came down from the hostel room and pleaded for help at passing students saying "Please. help, please!".

I pacified them saying that there was nothing to worry as it was all the effect of Bhang. But they could not be convinced and started to weep saying that there was something poisonous in the Bhang and they were sure to die. Before they die they wanted to see their mothers for the last time. However much I tried to convince them, they could not be convinced that it was just a passing feeling only due to the Bhang. Then I suggested that we will go and consult the Institute Doctor who lived near our campus. Holding my hands tightly from either side both of them accompanied me towards the doctor's residence. By the time we reached the Institute gate Azad asked me anxiously that how far still is the doctor's place since it had been hours since they have started walking. I could understand their feelings very well as I myself had similar experience in the afternoon while returning from the law college mess!

Finally we reached the doctor's residence and I explained to the doctor in detail about what had happened, while they both were waiting outside the consulting room. The doctor replied " Nothing can be done now. Let them take rest and sleep. In the morning it will be all over" On hearing the words " Nothing can be done" they thought even the doctor had considered them as a hopeless case and they were sure to die. Instantly they fell flat at the foot of the doctor and cried in Malayalam, "Yejamaane Rakshikkane" ( meaning "O Master Save us" ). Dr. Deshpande who was a Maharashtrian could not understand what they were telling. I whispered to the doctor to give them some placebo so that they will psychologically feel better. He gave them some vitamin tablets and warned them never to take such substances in future. They promised to him on oath that they will never ever have Bhang in their lifetime. I trust they kept up their promise and I too never had it afterward!

Farewell to Seniors from Kerala

At the time the Institute was teeming with lot of Malayalis –John Abraham, Devassy (Direction – 1969) P.Bhaskaran Unny, G. Sadasiva Panickkar and A. Kabeer Rawther (Direction – 1970) K.G.George (Direction – 1971) M.Azad ( Screenplay writing – 1970) C. Murlidharan (Sound recording – 1970) and C. Ravindranath Menon ( Ravi Menon) ( Acting – 1970)

Though I, George and Ravi Menon were in the first year we had good rapport with our seniors from Kerala. Azad and Kabeer Rawther were always willing to act as our Godfathers and filled us with their worldly wisdom. One most unassuming person whom I met at the Institute was Raman Nair, who at that time was working at the Film processing laboratories. He was a very mild and soft spoken person who was always ready to help you with his worldy wisdom. He was such a low profile person, I was surprised to learn much later that he was the younger brother of Film Archives P.K.Nair and had passed out from the Institute in the Editing 1966 Batch! Years later while we both settled in Thiruvananthapuram we had opportunity to work together and meet occassionaly. Unfortunately he is no more as he had died a few years back unsung and to me it is still a mystery as to why he worked in the film processing after doing the Editing course?

The most notable person at that time was none other than John Abraham. Many of my encounters with John always ended with my parting with some money for his daily need of “Tarra” the local brew. Most of the time he will be high and with his long hair and beard and unwashed clothes he was a real Hippie! Out of fear, I always avoided crossing his path. But I had to face him on the day when we juniors gave our seniors a farewell party.

Azad and John Abraham

To beard the lion in his den, I thought that I should also have a few drinks at the party so that I will be on par with John! But I was just a novice when it comes to consuming hard liquor. Earlier, I had never taken more than a peg and that too just to feel the taste of it. In the party I gulped two or three pegs of rum and joined the fun. But I soon passed out resulting in a hangover and severe head ache next morning!

Myself and Kabir Raother - 40 years later in 2008

The above photo was taken recently at the get together of FTII Graduates in Thiruvananthapuram. ( Note the change in the spelling of Kabir's name)

Friends from Kerala

Having come from the South and with little knowledge of Hindi, I was looking forward to find birds of the same feather. As I have studied in Tamil Nadu I was more familiar with Tamil Language and was looking for some Tamil sounding names. There was Bala Mahendran ( who later changed his name into Balu Mahendra) from Ceylon in Motion Picture Photography and he appeared to be a Tamil guy, but in his French beard, he was found to be mostly mixing with the Foreign students. I tried speaking to him in Tamil, though he understood it, he mostly replied in English. Then there was Swaminathan in Editing from Calcutta with whom I used to strike up some conversation.

Of course there were many Keralites and since my mother tongue is Malayalam I could easily communicate with them all, even though I could not read or write the language.

We even presented a group song on stage, on some special occasion


Standing from L to R : John Abraham ( Direction) M.Azad ( Screen Play Writing), Ramachandra babu ( Motion Picture Photography) , Kabeer Rowther ( Direction), K.G.George ( Direction), Suresh Babu ( Editing), Bhaskar Unni ( Editing & Direction) and G.S Panikkar ( Direction)