After watching The Great Indian Kitchen (2021), the first emotion I felt was an overwhelming sense of relief and sadness. How tragic that it took a filmmaker so many decades to make a film on a subject that was happening in every household every single day of our lives — KG George did add a succinct, gut-wrenching segment in Adaminte Varyiyellu in 1983 — that, too, with such methodical precision. And how ironic that it was conceived by a man. There was a simple tale of the daily drudgeries of a woman, the unrewarding, unpaid labour she has been doing over the years to lay the foundation called family. If it was executed and written with such startling nuance and emotions by a man, without ever reaching a point of mansplaining was because he played the part of a homemaker in real life as well. He did his share of household chores, took care of children, and then sat down to write the story. That’s why it hit hard and resonated with every single woman who has had a family.
Ever since, Jeo Baby has been anointed as a feminist filmmaker, a tag he happily wears on his sleeve. Two of his films following that (Old Age Home segment in the Malayalam-anthology Freedom Fight and Sree Dhanya Catering Service in 2022) have also got it right with women on celluloid. He has laid bare the reality of gender politics at home, without filters. Kaathal — The Core is already creating buzz on social media. It’s his biggest film to date, handles a relevant theme, is headlined by the superstar actor Mammootty and marks the return of Tamil actor Jyothika to Malayalam cinema after Seetha Kalyanam (2009). Mammootty brought Jyothika on board Kaathal, their first film together, produced by his production house Mammootty Kampany.
Kaathal is about the marital dynamics of a seasoned Kottayam couple, Omana and Mathew Devassy — a retired bank official, a reluctant politician, a closeted and confused husband. The film is about when love begins to alienate. In this interview, director Baby talks about working with Mammootty, the actor he grew up watching, giving opportunities to new faces, and remakes of his film. Edited excerpts:
You have always scripted your films, however, this is the first time you have taken writers for your film. How come?
I was always open to collaborating with new writers and was in search of stories that intrigued me. Some of the stories that didn’t excite me have turned into blockbusters. When Adarsh and Paulson approached me with this story, I knew I had to make it. As always, I narrated my version to my wife Beena, and she loved it. The writers were fine when I said the screenplay needed to be converted into a film of my vision. We shifted the screenplay to another milieu and approached Mammootty. He opened a fresh perspective, and we again reworked the script.
How was this new collaborative journey?
I think the relationship between a director and a writer is as crucial as that of a husband and wife. There has to be a synergy. That journey took a while. We had our share of disagreements and later came to a consensus. There were times when I felt that this was a bad idea. But when we realised that it was shaping into a fine product, such thoughts would turn redundant. I have often felt that many scenes organically fall into place during the process of filmmaking. The dots were connected by all four of us. I loved their thoughts; and eventually, all that merged into one vision. Now they are part of our lives. That’s how cinema developed.
You are also working in partnership with people with different ideologies and politics. Did that come in the way?
Not at all. Creative squabbles were there but we eventually reached a common goal. A lot of give and take was there.
Was The Great Indian Kitchen a reason they approached you?
Yes. But they took a while as they knew I was a writer-director. This screenplay passed through the hands of several filmmakers, and they liked it too. But due to time or other constraints, it didn’t happen. I am very stubborn about not losing out on an exciting story. But such stories were far fewer.
Mammootty in a still from Kaathal.
When Mammootty came on board, what changed?
I greatly admired the actor in him and felt he was the perfect choice for Kaathal. Within minutes of meeting him, the star in him dissolved into a fun-loving person. Since he understood the relevance of the story, he was keen on polishing the screenplay a number of times. He would send voice notes and exchange ideas. However, just before the day of the shoot, I was a bit anxious as I had heard stories of his tantrums on the sets. But from Day 1, he was going out of his way to make everyone comfortable. And we were a relatively new crew. ‘Please Baby, give me lighter scenes for two days as I take time to get into the character,’ he told me. And I realised that it was his way of making me feel comfortable. Even if he had minor issues, he is also the first one to clear that with you later on.
What is his process?
I believe he does his homework. It can be a watch the character requires or a shirt. But he was very involved with the character’s physical transformation as well as the inner complexities. You don’t need to direct him. He was well-versed with the character’s graph. Even if we had done retakes, I might have taken the first take during the edit. ‘Baby, I might not be able to recreate the earlier one. I will give anyway, you take whatever you want,’ he would tell me.
After The Great Indian Kitchen, you have a reputation to live up to. Does that responsibility frighten you?
I think I have a responsibility towards the audience. However, just because I am a feminist filmmaker, I am not trying to forcefully place women in my narratives. Though there has been a deliberate attempt to include women in the crew. In the film, I did ask them to include a woman lawyer instead of a man. Otherwise, even within my politics, I am attempting to place my characters organically.
Do you enjoy acting?
I think being a film actor is the most luxurious job in the world. Maybe, I won’t get that same luxury when I was doing theatre. I am just taking whatever comes my way, trying to be a director’s tool. Recently, I loved my character in Krishand’s Purusha Pretham. Since he is a friend, he guided me in the process. So, it was very satisfying.
You are known to be very good with actors. Is it about the democratic space provided on the sets?
I think so. All my films will have new actors and that’s a deliberate choice as they bring spontaneity and freshness. And it is also about giving opportunities to new faces. In Kaathal, except for the lead actors, all are new actors.
Jyothika and Mammootty in a still from Kaathal.
Which part of the direction do you enjoy the most?
I think being part of a great crew matters. They relax the mood and make the process enjoyable. So, I do make sure the workspace is very conducive and interactive. Most of my sets are like that.
This is your fourth collaboration with cinematographer Salu K George. What works there?
He is one of my closest friends. In my first movie, he was my AD (assistant director). He knows the kind of films I make. Our thought processes are very similar. As someone who likes to stay in a comfort zone, I prefer working with a familiar cinematographer. There will be a film in the director’s mind and a cinematographer should be able to enhance his vision visually. In Kaathal, for instance, I was looking for shots that kept moving from one character to another and Salu instantly got it. In Old Age Home, lensing was his idea. We shot Kaathal using an anamorphic lens and provided Atmos sound.
Of course. If it is a genuine critical review, I will incorporate it in my next film. In The Great Indian Kitchen, for instance, I agreed with the criticism that the finale dance was unwanted. I remember reading veteran film critic Kozhikodan’s reviews after watching a film in school and found it very educative. I don’t think you need to be scared of reviews.
Jeo Baby (extreme left) with Jyothika and Mammootty on the sets of 'Kaathal'.
But things are a lot more unfiltered and unforgiving on social media, with everyone having an opinion. How do you learn to separate the wheat from the chaff? Does it annoy at times?
I don’t think reviewers can take down good films. Maybe, you can watch your tone while passing your opinion. The truth is that a lot of films work purely on word of mouth alone. So, it works both ways. Just make good films. I don’t think there is a sure-fire formula for success, but you need to value your audience. I think it is a challenge to entertain an audience that already has several options for entertainment. We should keep that in mind while picking our content.
Recently, Akhil Sathyan said he is looking forward to a Malayalam cinema that runs without the help of superstars.
I think that is already there. Romancham, RDX, now Falimy. Sure, superstars will have an initial [attraction] but if the film doesn’t live up to audiences expectations, it will fall from Day 2.
But there seems to be a growing audience for big-screen experiences nowadays.
I think we are under the wrong impression that only spectacle films should be played on screen. Kaathal is not a big-scale film, but we have shot it for the theatre. I think a film is made bigger by the audience. Any kind of film requires a theatre watch. Rest are just about accessibility. Right now it is about films that connect to the audience.
No. But I am happy to see my films being remade. It gets a wider audience. And the industry also benefits from the exposure. However, most remakes don’t usually match up to the original.
One of the Kaathal posters.
How do you see your journey so far?
I don’t know about tomorrow but right now I am in a happy space. I got an opportunity to work with Mammootty whom I grew up watching, and also collaborate with so many talented people and narrate the stories I was passionate about. All this was possible because of the power of cinema. I am curious to see how this film will be received. But yes, I am always concerned about what to offer the audience next.
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