Vaa Vaathiyaar has Karthi and Keerthy Shetty in lead roles
Nalan Kumarasamy interview: 'Vaa Vaathiyaar is a hybrid masala film set in an imaginary world'
The director on why Vaa Vaathiyaar shouldn’t be watched through the ‘Nalan film’ lens, building a new world for Karthi, and why his next could begin as a comic. Exclusive interview
Towards the end of the telephonic chat, this writer recalled director Nalan Kumarasamy's old Facebook display picture (DP). The Dude from The Big Lebowski was Nalan's DP back when Soodhu Kavvum, the 2013 Tamil dark comedy that remains difficult to emulate even today, was released. Asked if the iconic Hollywood character was an inspiration not just for his films but also for his life, Kumarasamy responded simply: “Aama thalaivare” (‘Yes sir’).
It was a small but telling moment. The laid-back philosophy of The Dude, equal parts irreverent and unbothered, seems to mirror Kumarasamy’s own journey as a filmmaker who has never been in a hurry to conform. A decade after Kadhalum Kadanthu Pogum, the director is back with his third film, Vaa Vaathiyaar, arriving on screens as a surprise Pongal release after Vijay’s Jana Nayagan was postponed due to censor issues.
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Starring Karthi and Keerthy Shetty, Vaa Vaathiyaar marks Nalan’s return to the big screen with a film he insists should not be watched through the familiar “Nalan dark comedy” lens. In this freewheeling conversation, the director reflects on the film’s hybrid masala tone, the legacy and limitations of Soodhu Kavvum, why aesthetics are often misunderstood in Tamil cinema, his plans to venture into graphic novels, and the long pause.
In a recent interview, you had said Vaa Vaathiyaar is not for those who analyse ‘Nalan’ films and appreciate them. What did you mean by that?
I am glad you asked this. I wanted to make myself clear about it. Back in the 2000s, as I was exploring Coen Brothers, Tarantino, and the whole lot of dark comedies, Avatar came. And I didn’t like it. “Why is the film flat?” I wondered. But in reality, I wasn’t in the space to receive the film.
I am happy that we are able to make films like KGF, Pushpa, and RRR. Forget about the content or what the film does. I am talking about the sheer magnitude of the project and the physical labour that goes into it
When I watched it much later, I realised it had a lot. I was on a trip that I forgot to see for what it is. Likewise, if someone is coming in to watch Vaa Vaathiyaar in the mindspace of expecting a dark comedy, they wouldn’t be able to see this film for what it is. That’s what I wanted to convey.
Only for those, the film might be different from what they expect, but the rest will have a blast.
Is the long gap between Kadhalum Kadanthu Pogum and Vaa Vaathiyaar due to the commercial failure of the former?
Not at all. I love the way Ka Ka Po was made and how many celebrated it. It is not the reason for the gap. I should have learnt to convince people about what I was making and take my vision to them.
The gap was due to multiple reasons. “FORGET ALL OF THAT. LET’S DO THE NEXT” is the mood I am in right now.
If you take Thiagarajan Kumararaja, he takes his time between movies. Is that your process too?
Once at the Chennai Book Fair, a middle-aged guy walked up to me and said, “Do you know you are committing a crime?” I was like, “Sorry thalaivaa. But what is it?” And he goes: “It is clear that you can make good movies. Why don’t you then?”
Guess, I want to make movies consistently. It wasn’t a planned gap. However, I did a lot of R&D this time. I can someday become a professor too… have done that much of study.
If I go on to make good films, it would all be because of this time. It has enabled me to evolve and strive for better. If I am rewarded in the future, this time is a contributor to that.
In the meantime, were you observing the trend of Tamil cinema?
One doesn’t have to keep a track of it at all, because Tamil cinema is everywhere. It is the primary entity of our lives. We don’t have anything else to vibe together, no? All we have is only cinema. People who don’t watch films curse us for rotting because of it. It has taken over lives to such an extent that we don’t have other art forms.
Is that a good or a bad thing?
I think we can only decide it on retrospection. Throughout history, one art form or the other has dominated society. Painting had its time, and now, it’s cinema. I guess in 10 years, gaming will take over that space.
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But if we are exposed to different artforms, I think we will be more evolved in appreciating films. If at all we had a better sense of aesthetics, I think our lives would have been better. If we knew what makes a painting better or what is a good house design or a sense of colour combination for our costumes, I think our lives would be more interesting.
Like for someone in Paris, fashion would be a huge aspect. In New York, it could be theatre. If we have such multiple scenes here, it would be jolly.
Since you brought up aesthetics… Soodhu Kavvum brought in a visual and tonal aesthetic. Many try to emulate it but fail. Why do you think so?
Could be because of a lack of full-fledged ideas or the philosophy of the content they deal with. I tend to like what Nelson (Dilipkumar) does. Someone who understands that sense in and out is able to flesh it out.
Meiyazhagan and Kaithi are examples of someone striving to do unique things… it’s rare to see such extremes for the same person
What is then Vaa Vaathiyaar’s philosophical core?
To the core, Vaa Vaathiyaar has the familiar commercial cinema essence. In that, we have played with the art decor, the theme, and world building. Though we couldn’t create a Gotham City like Hollywood, we have achieved 70 per cent of it, I believe.
It happens in an imaginary world called Maasilaa, and we have come up with certain elements to create a unique world.
You earlier said Vaa Vaathiyaar tries to invoke the 90s era…
We spoke about that during the making, and now, when I watch the film, it looks like a film that is a hybrid masala film. It has the classical 90s vibe and also a lot of elements that’s in tune with the current age. I would say it is somewhere close to a masala film with its own texture and theme.
What is driving Karthi to consistently try something unique?
I think the reason he does that is because he doesn’t want to set up an idea of a superstar and try doing what it demands. Instead, he wants interesting stories and images. He tries to get into such unique spaces more than wanting to do something that’s already there.
Meiyazhagan and Kaithi are examples of someone striving to do unique things… it’s rare to see such extremes for the same person.
On the other hand, I think Ka Ka Po would have been a better OTT film. It would have been better as a series, I think
How involved is Karthi in the making of his films?
He is almost like a co-director of the film. But I am telling you that it is a good thing because by that way, they also become responsible for how the film turns out. That’s how he is.
He is as watchful about the film as I am. Even if we miss out things… he catches it.
You came in as part of the Nalaya Iyakkunar wave… now there’s a wave about scale and market…
I appreciate an aspect of the current trend. I am happy that we are able to make films like KGF, Pushpa, and RRR. Forget about the content or what the film does. I am talking about the sheer magnitude of the project and the physical labour that goes into it. With such a scale, it is hard to pin it down, and this trend has enabled us to do that.
In Hollywood, they do films like Ben Hur and Troy; there is a possibility of that happening here. In such a time, it is up to the filmmaker to decide if he wants that scale or not.
Also, personal films are good even on OTT platforms. When it comes to theatre experience, there is a need for something larger. Vaa Vaathiyaar is exactly made for that. On the other hand, I think Ka Ka Po would have been a better OTT film. It would have been better as a series, I think. It would have lent itself for a feel-good drama.
Where do you go from Vaa Vaathiyaar?
I have a project called Saamundeshwari. It is me going back to my zone — full-on dark comedy and wacky projects. Waiting for a big actress as the project demands a big budget. It has some grand elements.
Other than that, I have an idea for a multi-starrer. It is also an ambitious project that I am wondering if I should make it as a comic and then adapt it for a film.
Tell me more about this comic.
It is tough to mount a multi-starrer. So, I intend to first convert my script into a comic or a graphic novel. Sell it first and then change it into a film.
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About the idea, it is a period film set 2,000 years ago, but a dark comedy. It happens in an interesting space and has a scope for a visual reading. Also, I am an avid reader of graphic novels, and I can easily change that into a film. Hoping to do that.
What do you think is the alchemy for a good dark comedy?
Absurd and meaningless accidents that should be funny to everyone other than the parties involved in them.
‘Soodhu Kavvum 2 didn’t come through, but the effort was sincere’
Finally, what’s your take on Soodhu Kavvum 2?
They sincerely made an attempt, but it didn’t come through. It is unfortunate. Don’t know if it is because of the nuance or whatever — it didn’t work out the way they wanted to. But I know for sure that they made a sincere effort.
