Film Career
Bharathiraja started his film career as an assistant to director P. Pullaiya and Kannada film-maker Puttanna Kanagal. He also worked with Krishnan Nair, Avinasi Mani and A. Jaganathan, he learned the grammar of film-making and got his first directorial opportunity in 1977. His first film 16 Vayathinile for which he wrote the script broke the then existing convention to create a new genre of village cinema. The movie is now regarded as a game-changer and a mile-stone in the modern history of Tamil Cinema. About the movie, said Bharathirajaa in his own words, "This movie was meant to be black and white art film produced with the help of National Film Development Corporation", but turned out to be a commercially successful color film and a starting point for several important careers.
His next film Kizhakke Pogum Rail produced similar results and eventually brought in criticisms that Bharathiraja was capable of catering only to village audiences. This led him to make Sigappu Rojakkal, about a psychopathic woman hater that was totally Westernized in terms of both conception and production. But contrary to what several observers expected, this film met with box office success and everyone agreed that Bharathiraja was here to stay.
Bharathiraja confirmed his versatility and refusal to be tied down to one particular genre with an experimental film Nizhalgal and an action thriller Tik Tik Tik. But, undoubtedly rural themes proved to be his forte as his biggest hits in the 1980s Alaigal Oivadhillai, Mann Vasanai and Muthal Mariyathai were strong love stories in a village backdrop. Muthal Mariyathai starred veteran actor Sivaji Ganesan in the lead, playing a middle-aged village head. Radha is a poor young woman who moves into his village for a living. The love that bonds these two humans separated not just by age but also by caste and class, is told by Bharathiraja with poetic touches.
Vedham Pudhithu dealt with the caste issue in a stronger manner. The film's narrative was seamless and starred Sathyaraj as Balu Thevar. It contains some of Bharathiraja's trademark touches as well as several ground-breaking scenes. However, it does follow the anti-Brahmin trend common in Tamil films – in this respect it departed from his earlier success, Alaigal Oiyvadhillai, where the caste and religion factor was given a more balanced treatment. Bharathiraja has successfully managed to modernize his film making techniques for the 1990s. The commercial success of Kizhakku Cheemaiyile and the awards Karuththamma garnered stand as testimony for his ability to thrill the younger generation as well. Bharathiraja was on the same stage in 1996 to receive another National Award for Anthimanthaarai.
He has plans of making short films with varying themes to attract the international audience and has currently completed his latest venture Kadal Pookal and picked up a national award for the best screenplay writer for the same film. The well-known Tamil film director Bhagyaraj was one of his assistant directors. He has also directed movies in Telugu, Kannada and Hindi.
Read more about this topic: P. Bharathiraja
Famous quotes containing the words film and/or career:
“All the old supports going, gone, this man reaches out a hand to steady himself on a ledge of rough brick that is warm in the sun: his hand feeds him messages of solidity, but his mind messages of destruction, for this breathing substance, made of earth, will be a dance of atoms, he knows it, his intelligence tells him so: there will soon be war, he is in the middle of war, where he stands will be a waste, mounds of rubble, and this solid earthy substance will be a film of dust on ruins.”
—Doris Lessing (b. 1919)
“I doubt that I would have taken so many leaps in my own writing or been as clear about my feminist and political commitments if I had not been anointed as early as I was. Some major form of recognition seems to have to mark a woman’s career for her to be able to go out on a limb without having her credentials questioned.”
—Ruth Behar (b. 1956)