COLUMN:
LOCATION DIARY
Director
Sachy talks about his experiences in his debut hit film, 'Anarkali'
Photos: Director Sachy by Ratheesh Sundaram; the poster of 'Anarkali'
By
Shevlin Sebastian
As
director Sachy was about to embark, on a ship, in February, 2015,
with the actors and crew of the film, 'Anarkali', for the Lakshadweep
Islands, he got a shocking news. The permission to shoot scenes at
the islands of Agati, Kavaratti, Bangaram, and Thinnakara had been
withdrawn by the island's administrator Rajesh Prasad.
A
group called the Sunni Students' Federation had submitted a petition
to the Administrator, signed by the Imam of the local mosque, stating
that cinema is unIslamic. “I was informed that if shooting
commenced, there would be communal problems,” says Sachy.
The
director kept calm. “If I told [the actors] Prithviraj, Biju Menon,
Priyal Gor, and Miya George about this problem, they would
immediately set out for their next films,” says Sachy. So he kept
quiet and had a discussion with producer Rajeev Nair and production
controller Roshan Chittoor.
The
team was supposed to arrive at Kavaratti the next day. But Sachy
needed more time to get the order reversed. So he persuaded the
captain to change the direction of the ship's journey. The boat would
now touch the islands of Bitra, Kiltan and other islands and would
reach Kavaratti the day after.
Again,
through an influential contact, Sachy was able to inform a senior
official of the ministry of external affairs. The official
immediately asked the administrator to come to Delhi. So, Rajesh flew
by helicopter from Kavaratti to Kochi and then took a flight to
Delhi.
While
there, the official told Rajesh, “If Lakshadweep is a part of
India, then the film shoot will have to take place there, at all
costs.” Rajesh cited a possible law-and-order problem and said that
he did not have the necessary forces to control the unrest. “We
will send central forces,” the official said firmly. Rajesh nodded
and flew back. As soon as he reached Kavaratti, Rajesh issued the
permission certificate.
Meanwhile,
Sachy felt a tension within him as the ship approached the
embarkation jetty at Kavaratti. There were 2000 people present, but
he was not sure whether they were friendly or antagonistic. “But
when we stepped out, they gave us green coconuts to drink, to show
their happiness at seeing us,” says Sachy. “I felt so relieved.
It became clear that the the majority were in support of us. Later,
whereever we had shooting stints, the locals would provide us with
food. They were so kind and generous.”
However,
when Sachy wanted to do a crowd scene, he faced opposition. The
islanders are followers of Islam. “They said that women were not
supposed to appear in front of the camera,” says Sachy. “My
problem was that I could not show an audience that consisted of only
men.”
So
Sachy requested the local doctors and engineers to bring their
families. That evening, an announcer went around the island in an
autorickshaw and announced a performance by Jayaraj Warrier, who was
playing Chettuva Shah Jahan, a Mappilapattu singer, in the film.
Jayaraj would lip-sync a song called 'Aa Oruthi Avaloruthi', which
was sung by Vineeth Sreenivasan and Manjari.
Sachy
kept his fingers crossed. But, at the appointed time, a crowd of men,
women and children appeared. They listened to the song avidly. “We
shot the reactions and the clapping,” says the director, who used
three cameras as well as a helicam. “After the song was over, we
played it again. Again they clapped. When the third time it happened,
people began to drift away. So, we begged a few of them to stay on.
That was how we managed to shoot the song.”
Sachy
smiles and says, “After all these difficulties, I was so relieved
when the film became a bumper hit.”
(The
New Indian Express, Kochi, Kozhikode and Thiruvananthapuram)
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