Mahendran, the legendary filmmaker, will live on
— Lakshmi.V@timesgroup.com,Sangeetha.P@timesgroup.com, Sharanya.Cr@timesgroup.com,Thinkal.Menon@timesgroup.com
‘HE BELIEVED IN ADDRESSING PEOPLE WITH RESPECT’
My relationship with director Mahendran was more like a father and son. Whenever I would feel depressed, I would go to his house. He would talk about life, give me advice and that would keep me going for at least a year. Whenever I watched any of his movies on television, be it Johnny or Uthiri Pookkal, I would call him and say that I was watching the film. He would then share interesting vignettes about the film. Though we had a close relationship, he would always address me as Mr Vijay. He believed in addressing people with respect. When I told him that I was working with a Hollywood director (Chuck Russell) in Junglee, he said that there’s many more to come. He was the only person whom I invited for my wedding. During the shooting of Saasanam in Karaikudi, I told him that it was my 12th wedding anniversary and asked him to bless me. He spoke about the relationship between husband and wife and after a few minutes, vanished from the set. Gauthami, who was on the set, asked if I had said something to him. After a while he came back with a peacock and said, ‘May your life be as colourful as this peacock’. I asked him to let it fly and he did that happily. He believed in enjoying every small thing in life.
— Thalaivasal Vijay, actor
‘MAHENDRAN UNCLE USED TO PLAY CRICKET WITH US’
Mahendran uncle and I were neighbours in RA Puram. In fact, Mahendran uncle's son John is a really close friend of ours. More like family, I would say. Appa and he used to visit each other’s houses. So, I have always addressed him as ‘uncle’ and not ‘sir’. He’s known Premgi and I ever since we were kids. We used to play cricket outside our place with friends. If he spotted us, he would come play a game of cricket with us. It was the time when Chennai 600028had released. He had seen both Chennai 600028 and Saroja. He said that he was proud of me and happy that I was doing different kind of films. He even said my films don’t need heroes and that I work well with the younger lot. The kind of filmmaking he engaged in is a lesson for directors of today and tomorrow. We still give references of Mullum Malarum and Uthiri Pookkal to bring out the best emotions from an actor. Mahendran uncle explored acting at a later stage. It was so nice of Atlee to bring him back on screen as an actor.
— Venkat Prabhu, director
‘THE WAY HE LOOKED AT CINEMA WAS BEYOND ANYONE’S IMAGINATION’
He shot for one whole day for a small role in Boomerang, but declined to take any remuneration. He had immense respect for this generation of youngsters. I’m happy that I got the opportunity to say ‘start, camera, action’ to a director of his stature.
— Kannan,director of Boomerang,his last release
‘HE WAS DEDICATED TO TEACHING YOUNGSTERS’
When I met him 2014 with regards to BOFTA Film Institute, he actually told me that he was planning to start a film school. So, I told him that he should come on board our institution. He was one of the founding members and HoD of Direction. He was so committed to his work that he would be present even when we were interviewing students. I met him recently, just when he had taken ill, and even at the time, he spoke about setting up a studio where students could do photoshoots. He was dedicated to teaching youngsters that craft and used to give feedback on their stories.
— Dhananjayan, producer and dean of the academy
‘IN THE TIME OF #METOO, WE SHOULD HAVE MORE PEOPLE LIKE MAHENDRAN WHO RESPECTED WOMEN BOTH ON CAMERA AND OFF IT’
I first knew Mahendran sir as a technician, when I worked as an assistant cinematographer in his films. And then, I debuted as an actress with his Nenjathai Killathe. I’ve done three films with him. Just a week ago, I was telling my friends how certain moments define somebody's future. For me, it was when I shooting for the film in Cubbon Park. I was rehearsing my lines for a romantic scene, when the assistant director told me that I had to say it a little differently, in a feminine tone. I was all of 18 and didn’t understand the nuances of all this and was trying to get what he was saying. That’s when Mahendran, from a distance, said, ‘Mr Pragathish, leave her. She knows what she is doing. It’s perfect for me, and it’s perfect for the character. Don’t confuse her.’ I got my green signal for my career right there. Just yesterday, in our 80s group, we were talking about the difference between him and other directors. He let me be; I didn’t have to pretend to be another person while working with him. Unlike Bharathirajaa and Ilaiyaraaja, who travelled the world with their films, he was very happy in his space. His dream was to meet Satyajit Ray. His art and films were his world. He never talked about his work. He would never say, ‘I’m making this film…’. It was always about other people’s films. He changed the trend and made realistic cinemas in the 80s. He was a pathbreaker, but a quiet one. He didn’t arrive with a bang; he was always there. With an actor like Rajini, he made a realistic film like Mullum Malarum. He got together so many unfamiliar actors to create a classic like Uthiri Pookkal. I’m indebted to him, more as a daughter than an actress. In the era of #MeToo, we should have more people like Mahendran who respected women both on camera and off it.
— Suhasini Maniratnam, actress
‘MAHENDRAN SIR WAS A TRUE ARTIST BY ALL MEANS’
He used to be my all-time favourite director and I came to cinema after getting inspired by many of his films. Mahendran sir was a great human being and a thorough gentleman. He gave respect to everyone and used “Mr” often before addressing others. I had a memorable time directing him in my last film. We can’t separate him from the films he has made. A true artist indeed!
— Balaji Tharaneetharan, director (worked in Seethakaathi)
‘I ONCE TOLD HIM HOW BOTH HIS AND RAJINI SIR’S MANNERISMS WERE SO SIMILAR’
Whenever I used to talk to him about his films, he’d quickly change the topic and talk about other films. He was down-to-earth like that. He would never call me Thiru; it was always Mr Thiru. He was an amazing dialogue writer. People still remember his lines, like ketta paiyyan sir indha Kaali. I remember, he once took my pad and read through the lines and said he liked my dialogues. That’s the biggest compliment I’ve ever received. I once told him how both his and Rajini sir’s mannerisms were so similar. Unga kittendha avarukku vandhudha, illa avar kittendhu ungalukku vandhudha-nu ketta, adhukku avar kodutha ore badhir sirippudhan.
— Thiru, director (worked in Mr Chandramouli)
— Lakshmi.V@timesgroup.com,Sangeetha.P@timesgroup.com, Sharanya.Cr@timesgroup.com,Thinkal.Menon@timesgroup.com
‘HE BELIEVED IN ADDRESSING PEOPLE WITH RESPECT’
My relationship with director Mahendran was more like a father and son. Whenever I would feel depressed, I would go to his house. He would talk about life, give me advice and that would keep me going for at least a year. Whenever I watched any of his movies on television, be it Johnny or Uthiri Pookkal, I would call him and say that I was watching the film. He would then share interesting vignettes about the film. Though we had a close relationship, he would always address me as Mr Vijay. He believed in addressing people with respect. When I told him that I was working with a Hollywood director (Chuck Russell) in Junglee, he said that there’s many more to come. He was the only person whom I invited for my wedding. During the shooting of Saasanam in Karaikudi, I told him that it was my 12th wedding anniversary and asked him to bless me. He spoke about the relationship between husband and wife and after a few minutes, vanished from the set. Gauthami, who was on the set, asked if I had said something to him. After a while he came back with a peacock and said, ‘May your life be as colourful as this peacock’. I asked him to let it fly and he did that happily. He believed in enjoying every small thing in life.
— Thalaivasal Vijay, actor
‘MAHENDRAN UNCLE USED TO PLAY CRICKET WITH US’
Mahendran uncle and I were neighbours in RA Puram. In fact, Mahendran uncle's son John is a really close friend of ours. More like family, I would say. Appa and he used to visit each other’s houses. So, I have always addressed him as ‘uncle’ and not ‘sir’. He’s known Premgi and I ever since we were kids. We used to play cricket outside our place with friends. If he spotted us, he would come play a game of cricket with us. It was the time when Chennai 600028had released. He had seen both Chennai 600028 and Saroja. He said that he was proud of me and happy that I was doing different kind of films. He even said my films don’t need heroes and that I work well with the younger lot. The kind of filmmaking he engaged in is a lesson for directors of today and tomorrow. We still give references of Mullum Malarum and Uthiri Pookkal to bring out the best emotions from an actor. Mahendran uncle explored acting at a later stage. It was so nice of Atlee to bring him back on screen as an actor.
— Venkat Prabhu, director
‘THE WAY HE LOOKED AT CINEMA WAS BEYOND ANYONE’S IMAGINATION’
He shot for one whole day for a small role in Boomerang, but declined to take any remuneration. He had immense respect for this generation of youngsters. I’m happy that I got the opportunity to say ‘start, camera, action’ to a director of his stature.
— Kannan,director of Boomerang,his last release
‘HE WAS DEDICATED TO TEACHING YOUNGSTERS’
When I met him 2014 with regards to BOFTA Film Institute, he actually told me that he was planning to start a film school. So, I told him that he should come on board our institution. He was one of the founding members and HoD of Direction. He was so committed to his work that he would be present even when we were interviewing students. I met him recently, just when he had taken ill, and even at the time, he spoke about setting up a studio where students could do photoshoots. He was dedicated to teaching youngsters that craft and used to give feedback on their stories.
— Dhananjayan, producer and dean of the academy
‘IN THE TIME OF #METOO, WE SHOULD HAVE MORE PEOPLE LIKE MAHENDRAN WHO RESPECTED WOMEN BOTH ON CAMERA AND OFF IT’
I first knew Mahendran sir as a technician, when I worked as an assistant cinematographer in his films. And then, I debuted as an actress with his Nenjathai Killathe. I’ve done three films with him. Just a week ago, I was telling my friends how certain moments define somebody's future. For me, it was when I shooting for the film in Cubbon Park. I was rehearsing my lines for a romantic scene, when the assistant director told me that I had to say it a little differently, in a feminine tone. I was all of 18 and didn’t understand the nuances of all this and was trying to get what he was saying. That’s when Mahendran, from a distance, said, ‘Mr Pragathish, leave her. She knows what she is doing. It’s perfect for me, and it’s perfect for the character. Don’t confuse her.’ I got my green signal for my career right there. Just yesterday, in our 80s group, we were talking about the difference between him and other directors. He let me be; I didn’t have to pretend to be another person while working with him. Unlike Bharathirajaa and Ilaiyaraaja, who travelled the world with their films, he was very happy in his space. His dream was to meet Satyajit Ray. His art and films were his world. He never talked about his work. He would never say, ‘I’m making this film…’. It was always about other people’s films. He changed the trend and made realistic cinemas in the 80s. He was a pathbreaker, but a quiet one. He didn’t arrive with a bang; he was always there. With an actor like Rajini, he made a realistic film like Mullum Malarum. He got together so many unfamiliar actors to create a classic like Uthiri Pookkal. I’m indebted to him, more as a daughter than an actress. In the era of #MeToo, we should have more people like Mahendran who respected women both on camera and off it.
— Suhasini Maniratnam, actress
‘MAHENDRAN SIR WAS A TRUE ARTIST BY ALL MEANS’
He used to be my all-time favourite director and I came to cinema after getting inspired by many of his films. Mahendran sir was a great human being and a thorough gentleman. He gave respect to everyone and used “Mr” often before addressing others. I had a memorable time directing him in my last film. We can’t separate him from the films he has made. A true artist indeed!
— Balaji Tharaneetharan, director (worked in Seethakaathi)
‘I ONCE TOLD HIM HOW BOTH HIS AND RAJINI SIR’S MANNERISMS WERE SO SIMILAR’
Whenever I used to talk to him about his films, he’d quickly change the topic and talk about other films. He was down-to-earth like that. He would never call me Thiru; it was always Mr Thiru. He was an amazing dialogue writer. People still remember his lines, like ketta paiyyan sir indha Kaali. I remember, he once took my pad and read through the lines and said he liked my dialogues. That’s the biggest compliment I’ve ever received. I once told him how both his and Rajini sir’s mannerisms were so similar. Unga kittendha avarukku vandhudha, illa avar kittendhu ungalukku vandhudha-nu ketta, adhukku avar kodutha ore badhir sirippudhan.
— Thiru, director (worked in Mr Chandramouli)
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