Chepauk to Kollywood: The dramatic rise of Jai Bhim's Manikandan

K Manikandan, who earned national fame for his role in Jai Bhim — as Rajakannu, a victim of police atrocity — is in the spotlight again. This time it is for his directorial debut Narai Ezhuthum Suyasaritham (‘The Grey-Haired Autobiography’).

The film, made in 2012 with a budget of ₹2 lakh and just two or three people in the technical crew, recently had its digital premiere on Sony LIV, where it is making waves. “To me, it was an amateurish film but a few are appreciating the film despite its flaws,” Manikandan told The Federal.

But Jai Bhim and Narai… are just the latest to join Mani’s cap, which is brimming with feathers. Versatility is among his key traits — he started his career as a mimicry artist, and then moved on to direct a film, and pen dialogues for several blockbusters and critically acclaimed films, and has now established himself as a notable performer.

Chepauk to Kollywood

“Looking back, my childhood aim was to become a cricketer,” recalled Mani. “But, as I grew up, the dream started crumbling in front of my eyes. I was not aware of coaching centres. My friends and I couldn’t afford a cricket kit. We thought playing cricket on the local ground was enough to play at Chepauk later.”

At one point, he woke up to reality, and reconciled himself to taking up some factory work. It was his friends who pushed him into the reality show arena. “In school, I used to mimic film stars. After college, one of my friends asked me to participate in Vijay TV’s Kalakkapovathu Yaaru (‘Who is going to Rock’), a comedy reality show,” he said, adding that there were self-doubts. “The audition had around 600 participants, so I told my friend —let’s get out of here. But he pointed out that losing the audition would hardly make a difference to my life. Somehow, I got selected in the audition and ended as the runner-up of the fourth season.”

Mani next began to work for various FM stations in Chennai. It was here that his love for films blossomed. “I interviewed a lot of film celebrities every Friday, and they would share anecdotes about how they penned scripts. I guess that’s how I was attracted to writing,” he said. Radhan, the music composer of Telugu hit Arjun Reddy, who used to work as a sound engineer in an FM station, pushed Mani to pursue acting and film-writing.

“We were so ignorant and naive in those days —I told Radhan he would also get an Oscar like his role model Rahman sir, and he told me that I would also get one,” recalled Mani. “It was he who insisted that I not limit myself to mimicry and RJ-ing.”

Early road bumps and learnings

But Mani’s first experience in showbiz was forgettable. “My first film drained out all my energy. The experience was terrible and the subsequent production companies that gave me a chance only had an office for the sake of it — they were not keen to make films,” he said. Most of the production houses did not offer him a chance to act in their films but let him be an assistant writer and assistant director.

This helped him in two ways. One, he polished his script writing and directing skills. Two, it induced him to try another vocation — his ability to speak in different voices helped him become a dubbing artist. “During that difficult phase, I got the chance to dub for films (for Telugu films dubbed into Tamil). It helped me to flawlessly pronounce Tamil sounds, especially the zha-garam and la-garam (considered the toughest consonants in Tamil). My stints in FM stations, dubbing studios, and even the namesake production houses are helping me now as an actor and writer,” he said.

Mani feels Naalaiya Iyakkunar (‘Tomorrow’s Director’, a TV talent show) changed his career to a large extent. “I was not a trained artist. All I had was an empty dream but in Naalaiya Iyakkunar, I met many people equipped with talents and dreams. That’s how directors like Ravikumar Rajendran, Nalan Kumarasamy and Arun Raja Kamaraj became my friends,” he said. Nalan pointed out to Mani that he was good at writing, but he should focus more on acting. Mani also acted in Arun Raja’s short films and penned dialogues for him.

The first big break

The going was tough, but he wouldn’t exaggerate his early struggle, said Mani wryly. “My family was in Chennai and I had food and shelter, but I wasn’t moving anywhere in life,” he said. After some time, the dubbing chances dried up and the acting and directing dreams were withering away.

“I asked one of my friends to get me a job in his office and we were chatting well into midnight,” recalled Mani. “I overslept the next day and woke up to four missed calls from Nalan sir. He asked me to come to his office and gave me the script book of Kadhalum Kadanthu Pogum (‘Love Too Shall Pass’). The initial title was Eskimo Kadhal. He then asked me about the driver’s role in the film. I told him the character arc was good and, to my surprise, he casually said I was doing it.” At that stage, Mani told Nalan sheepishly that he did not know how to drive.

From that point, there was no looking back. Director Sri Ganesh, another good friend of Mani, offered him 8 Thottakkal (‘Eight Bullets’). Tamil film star Vijay Sethupathi introduced him to the directors of Vikram Vedha (a Tamil blockbuster that is currently being remade in Hindi) and got him the chance to pen the dialogues for the film. Some of the lines have now acquired cult status.

Mani is often compared to Vijay Sethupathi, which the former disapproves of. “Such comparisons would only degrade an incredible talent like Sethupathi sir,” he said. “If all of us would approach a character in one way, he would come up with a different angle. On the sets of Vikram Vedha, the entire unit was stunned by the unexplored angle he threw at us and agreed to what he pointed out. I’ve witnessed the way he approaches each film, so when someone compares me with him, I just can’t agree.”

Some more opportunities

Director Pa Ranjith, renowned for films with social messages, saw Mani’s ‘flop’ YouTube show and offered him a role in Kaala, a Rajini film. “During the audition, I did not know it was a Rajini sir film. Only later, I came to know that I play his son in the film. It was a memorable experience,” recounted Mani.

Halitha Shameem is another important filmmaker to have touched his career, said Mani. “It’s common practice in the industry to typecast actors. When she approached me to play an IT guy in Sillu Karuppatti (‘Ginger Palm Candy’, an anthology film), I was hesitant but Halitha felt I would be apt for the role,” he said.

Shameem always approaches actors from a new perspective, he added, citing her recent film Loners (part of OTT anthology Putham Pudhu Kaalai Vidiyaadhaa, or Won’t a Brand New Morning Come), for which she roped in Arjun Das and Lijomol Jose for soft-spoken urban-centric characters. In her Aelay (‘Hey!’), Mani played one of the protagonists with scope on par with director and actor Samuthirakani.

Narai Ezhuthum Suyasaritham has its flaws and seems amateurish to him, but is drawing appreciation, said Mani. He had inhibitions about it being re-released on OTT, “as the final output wasn’t satisfactory to me”, but did not prevent it. “Just because I’m not convinced, I can’t stop my producer from releasing the film. When no one recognised my talent, he came forward and invested ₹2 lakh, which was a big amount 10 years ago. Now, when a platform is offering him something, I don’t want to be a hindrance,” he said.

As a rule, he doesn’t re-watch any of his films, as the flaws stand out, and this applies to the highly acclaimed Jai Bhim, too. “People are appreciating me in Jai Bhim but I could find many flaws in my performance in the film,” he said.

Dabbling in mainstream cinema

While Mani’s films are not typical mainstream cinema, he has worked with Ajith Kumar’s blockbuster entertainer Viswasam.

“T Udaykumar sir (an audiographer) shows a great interest in my growth. He recommended me to Siva (director Siruthai Siva) sir,” recalled Mani. “Till then, I only used to write stories and find the actors later. I never knew how to pen dialogues and scripts for stars. I thought Viswasam would be a great opportunity to know the other side of filmmaking and it taught me a lot of lessons.

“Though we argued a lot, Siva sir would take my suggestions. It was an interesting experience, I tried to write dialogues that suited Ajith sir’s image and how we can use it for the family drama.”

Learning from the masters

Actors such as Kamal Haasan are his biggest source of inspiration, said Mani. “Haasan sir appreciated me for Jai Bhim and Sila Nerangalali Sila Manithargal (‘Certain People at Certain Times’, where he played a key role and also penned the dialogues),” he said. “We all long for such appreciation from legendary actors. It helps us push the boundaries further.”

Mani also deeply appreciates character artists such as Nagesh, Delhi Ganesh, Nassar and Janakaraj, who have done hundreds of films, and therefore performed hundreds of characters. “Their talent and experience are unparalleled. Even big superstars wouldn’t have such vast experience,” he said.

Today, Mani has won laurels as an actor, writer and director, but is not willing to confine himself to one groove. “I’m working on my directorial venture and writing dialogues for other directors. Acting offers are coming my way. Guess, I’m here to learn more things, so I would grab any good opportunity and try to give my best to improve myself,” he signed off.