An exhibition, part of the Chennai Photo Biennale, celebrates veteran set photographer T. Lakshmikanthan through a poetic visual archive of classic Tamil films with verses from the Thirukkural
A photo exhibition, ‘Those with Pure Vision (Māsaru Kātchi Yavarkku),’ currently on display at Thiruvanmiyur MRTS Park at Kamaraj Nagar in Chennai, spotlights the remarkable but often overlooked craft of still photography in Tamil cinema. It showcases a carefully curated selection of images captured by veteran set photographer T. Lakshmikanthan, a stalwart who has spent over five decades capturing the magic of filmmaking from behind the scenes.
The exhibition, which began on February 15 and will be on view till March 16, is a part of this year’s edition of the Chennai Photo Biennale (CPB), and has been curated by Nirmal Rajagopalan. It presents a visual journey through Tamil cinema from 1977 to 1983, immortalising moments from ten iconic films. The photographs are arranged under various thematic groups — beauty, family, love, emotions, friendship, and power — juxtaposed with select couplets from the Thirukkural, reflecting the poetic depth and storytelling power encapsulated within each frame.
The unsung role of a set photographer
The role of a still photographer on a movie set is often overshadowed by the cinematographer, yet their work is essential to the film’s identity. While cinematographers receive their due credit for shaping the visual aesthetic of a film, set photographers like Lakshmikanthan play an equally significant role. Their work extends beyond the familiar promotional stills seen on movie posters and magazines.
In the analogue era, they were responsible for continuity shots — crucial for maintaining visual consistency between takes — as well as reference photographs used to fine-tune lighting and composition before expensive celluloid reels were exposed.
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Lakshmikanthan’s journey in the field began in the late 1960s. Between 1970 and 2023, he has worked in about 200 odd films across Tamil, Hindi, Malayalam, Telugu, and Kannada cinema. His archive provides an invaluable glimpse into the making of films, capturing candid moments of actors, directors, and technicians at work.
Capturing the essence of cinema
Among the earliest milestones in Lakshmikanthan’s career was his work on Gauravam (1973), starring Sivaji Ganesan in a double role. A striking image of the actor dressed as King George V in full regalia was blown up into a six-foot print — a technological feat for its time — and became a prominent display outside Shanti Theatre in Chennai.
The current exhibition features stills from ten films spanning the late 1970s and early 1980s, including Billa, Manvasanai, Sigappu Rojakkal, and Kallukkul Eeram. Many of these films were directed by Bharathiraja, a filmmaker known for his groundbreaking realism. The images capture everything from action-packed sequences to tender, introspective moments frozen in time.
A parallel between photography and poetry
What makes this exhibition unique is its fusion of cinematic imagery with the poetic wisdom of Thiruvalluvar. The exhibition pairs Lakshmikantan’s stills with verses from the Thirukkural, drawing a poetic parallel between the brevity of a Kural and the frozen intensity of a single frame. His images, much like the Kurals, encapsulate deep narratives in a moment’s time.
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Each frame tells a story — whether it’s the raw emotion of a mid-action shot, the intensity of a dramatic scene, or candid glimpses of actors between takes.The exhibition groups the photographs under six central themes: Beauty, Family, Love, Emotions, Friendship, and Power, each showcasing a different aspect of Lakshmikantan’s photography.
A still from 16 Vayathinile (1977), directed by Bharathiraja and starring Sridevi, Kamal Haasan and Rajinikanth
Beauty: up, close with heroines
Featuring striking stills of actresses like Sridevi (Pathinaru Vayathinile), Madhavi, Radha (Alaigal Oivathillai), Revathi (Mann Vasanai), and Vijayashanti in their debut roles, this segment reflects the aesthetic and artistic representation of leading heroines during their formative years.
Family: the ties that bind us
This section captures emotionally charged moments from films such as Kallukkul Eeram and Alaigal Oivathillai, portraying family bonds, generational conflicts, and intimate expressions of love and acceptance. One image from Alaigal Oivathillai intriguingly frames Radha as a Christian girl and Karthik as a Hindu boy, with Karthik’s mother embracing their love under the watchful presence of Hindu deities.
Love, the many-splendoured thing
From Rajinikanth and Sripriya’s poised elegance in Billa to the passionate yet conflicted romance of Kamal Haasan and Sridevi in Sigappu Rojakkal, these photographs tell compelling love stories. A standout image captures Kamal and Sridevi exchanging glances in a saree shop, symbolising love’s complexities and illusions.
Emotions galore
This section delves into raw, unscripted moments captured mid-scene, such as Goundamani’s village drunkard role in Kallukkul Eeram, Dengai Srinivasan’s unsettling expressions in Tik Tik Tik, and poignant shots of actors on the verge of breaking down in films like Puthu Vaarpugal.
Friendship: the joy of camaraderie
Bharathiraja’s films often emphasized camaraderie, and Lakshmikantan’s stills reflect this beautifully. Frames of Karthik and his friends from Alaigal Oivathillai, as well as off-screen moments from Nizhalgal, encapsulate the essence of companionship.
A vanishing art in the digital era
With advancements in digital photography and on-set video monitoring, the role of still photographers has diminished. However, their legacy remains imprinted in cinema history. Lakshmikantan’s work reminds us of a time when film was tangible, and capturing a moment required skill, patience, and an artist’s eye.
The exhibition, a rich tribute, is also an acknowledgment of the silent contributors who shaped the visual language of Indian cinema. As the industry moves forward, these frames stand as timeless testaments to a golden era of filmmaking.
At a time when analogue photography is seeing a revival, this exhibition pays homage to a profession that was once indispensable. ‘Māsaru Kātchi Yavarkku’ offers a compelling intersection of cinema and poetry, blending the visual depth of still images with the succinct beauty of Thirukkural.
