Balu Mahendra | |
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| Born | Balanathan Benjamin Mahendran (1939-05-20)20 May 1939 |
| Died | 13 February 2014(2014-02-13) (aged 74) Chennai,Tamil Nadu, India |
| Other names | Mahendra, Balu, Bala Mahendran |
| Education | |
| Occupations |
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| Years active | 1971–2013 |
| Spouses | |
| Children | Shanki Mahendra[1] |
Balanathan Benjamin Mahendran (20 May 1939 – 13 February 2014), commonly known asBalu Mahendra,[2] was aSri Lankan Tamilcinematographer, director, screenwriter, actor andfilm editor who worked invarious Indian film industries, primarily inTamil andMalayalam cinema. Born in Sri Lanka, Mahendran developed a passion for photography and literature at a young age, after witnessing the shoot ofDavid Lean'sThe Bridge on the River Kwai (1957) during a school trip in Sri Lanka, he was drawn towards filmmaking. After graduation he joined as an Aerial photographer in the Sri Lankan Government.[3] In 1966, he moved to India and gained admission to theFilm and Television Institute of India (FTII) to pursue a course in motion picture photography. Upon completion of his diploma, he enteredMalayalam cinema as a cinematographer in the early 1970s.
After working in over 20 films as a cinematographer, Mahendra made his directorial debut in 1977 with theKannada filmKokila. Since then, he directed over 20 films in a span of 36 years. Along withBharathiraja andMahendran, he is regarded as a trendsetter in Tamil cinema. Widely regarded as anauteur,[4][5] Mahendra usually scripted and edited his films apart from shooting them. He was the recipient of sixNational Film Awards (including two forBest Cinematography), fiveFilmfare Awards South and several state government awards. During the tail end of his career, he established a film school inChennai, which offers courses in cinematography, direction and acting. Following a brief phase of poor health, Mahendra died of cardiac arrest in February 2014.
Mahendra was born on 20 May 1939 into aSri Lankan TamilChristian family in the village of Amirthakali nearBatticaloa,British Ceylon (Sri Lanka).[6][7] Born to a professor father,[8] he did his schooling atMethodist Central College andSt. Michael's College National School.[2][9] As a teenager, he was drawn towards films by his class teacher.[10] It was during this time he happened to seeBicycle Thieves (1948) andBattleship Potemkin (1925).[10] When he was at the sixth grade, he got an opportunity to witness the making ofDavid Lean'sThe Bridge on the River Kwai (shot in Sri Lanka) during a school field trip.[11][12] Inspired by Lean's personality, Mahendra determined to become a film-maker.[10][12]
"I used to cut my cinematography classes and attend classes conducted in the departments of direction, screenplay writing and editing. However, I used to get the top rank in cinematography, so the professor did not mind my going to other classes. My main concern at that time was direction and scripting with a little bit of interest in cinematography."
Right from his childhood, Mahendra was interested infine arts and literature. Upon completion of school, he joined theLondon University and graduated with a bachelor's degree (honours) in science.[14] After his graduation, he worked as an Aerial Photographer in the Sri Lankan Government.[15] for a brief period during which he edited a Tamil literary magazine titledThyen Aruvi.[2] In Colombo, he worked as an amateur drama artist withRadio Ceylon and got acquainted with the Sinhala theatre groups.[2]
Mahendra's passion for cinema prompted him to leave for India and join theFilm and Television Institute of India,Pune in 1966.[2] He had to take up cinematography as he could not gain admissions to other disciplines.[12][16] At the institute he was exposed toworld cinema as he got an opportunity to watch films made byFrançois Truffaut andJean-Luc Godard, both associated with theFrench New Wave movement.[13] In 1969, Mahendra graduated from the institute with a gold medal.[12]
As a fresh graduate from the FTII, Mahendra's early attempts to enterSri Lankan Tamil cinema were unsuccessful.[2] He got his first break as a cinematographer in 1971 in theMalayalam filmNellu.[12][17]Ramu Kariat, the director ofNellu, was impressed byA View from the Fort, Mahendra's diploma film at the FTII.[9][11] Though the filming ofNellu began in 1971, production delays postponed its release for three years.[17] Meanwhile, Kariat signed up Mahendra for another film titledMaaya which released in 1972. However,P. N. Menon'sPanimudakku (1972) got released beforeMaaya, thus becoming Mahendra's first release.[18] He continued to work in Malayalam films such asSasthram Jayichu Manushyan Thottu (1973),Kaliyugam (1973) andChattakari (1974).[12]
Nellu, shot in colour, won theKerala State Film Award for Best Cinematography after it was released in 1974.[12] Mahendra had continued successes with films such asPrayanam (1975) andChuvanna Sandhyakal (1975), both fetching the state award for best photography to him for the second consecutive time.[18] Between 1971 and 1976, he worked in about 20 films—mostly in Malayalam—as a cinematographer.[18] The following year he made his directorial debut withKokila. Made inKannada, the film was a "triangular love story".[19] In addition to aBest Screenplay award from the Karnataka government,[20] Mahendra won his firstNational Film Award for Best Cinematography for the film.[21] The film was both critically acclaimed and commercially successful. It was equally successful in the neighbouring state of Tamil Nadu and has the distinction of being the only Kannada film to complete 150 days in Madras (nowChennai) as of 2014.[19]
Despite being a Tamil, it was not until 1978 he worked in a Tamil film when he signed up as the cinematographer forMahendran's directorial debutMullum Malarum (1978).[22] Apart from handling the cinematography, Mahendra involved himself in other aspects such as screenwriting, casting, editing and direction in the film.[23] After completingMullum Malarum, Mahendra decided to work on his second directorial venture, this time in Tamil. He named the filmAzhiyadha Kolangal (1979), which according to him was "partly autobiographical".[24][25] Inspired from the 1971 American filmSummer of '42,[26]Azhiyadha Kolangal was acoming-of-age film that dealt with the story of three adolescent boys who are in the awakening of sexuality.[24] Although it was controversial for its theme, it was a box-office success.[25] During this time he did the cinematography ofK. Vishwanath'sTelugu filmSankarabharanam (1979) which turned out to be a major critical and commercial success.[27]
Mahendra's third film as directorMoodu Pani (1980) was loosely based onAlfred Hitchcock's 1960 filmPsycho.[28]Moodu Pani saw Mahendra collaborating withIlaiyaraaja for the first time; Ilaiyaraaja was Mahendra's regular composer since then.[29] In 1982, Mahendra madeMoondram Pirai which hadKamal Haasan andSridevi in the lead. The film told the story of a school teacher who looks after a girl suffering fromamnesia. It had a 300-day run in the theatres and was labelled a "blockbuster". The film fetched twoNational Film Awards including an award for cinematography for Mahendra.[27] The same year he madeOlangal (1982) which marked his directorial debut inMalayalam.[18] Inspired fromErich Segal's novelMan, Woman and Child, the film was a critical success.[30] At the end of the year, Mahendra won twoFilmfare trophies fordirectingOlangal andMoondram Pirai.[31]
In 1983, Mahendra enteredHindi cinema withSadma, a remake ofMoondram Pirai, withKamal Hasan andSridevi reprising their roles. Mahendra received aFilmfare nomination for Best Story and became a well-known director with the Hindi audience with the film.[32] The same year, he worked as the cinematographer of the Kannada filmPallavi Anu Pallavi,Mani Ratnam's debut film.[33] During this time, he made his second film inMalayalam titledOomakkuyil. UnlikeOlangal,Oomakkuyil failed to create an impact among the audience.[18]
During the mid 1980s, Mahendra concentrated on mainstream films.[4] The first of whichNeengal Kettavai (1984) was labelled an outright commercial picture. Later Mahendra noted that he made the film with a sole intention to prove critics that he could make commercial films.[29] The following year, he collaborated withRajinikanth to makeUn Kannil Neer Vazhindal which turned out to be a commercial failure.[4][34] He then worked on the Malayalam filmYathra (1985) withMammooty in the lead role as a forest officer. The film was an adaptation of the 1977 Japanese classicThe Yellow Handkerchief. Made with "artistic values" the film earned₹1.9 million (equivalent to₹28 million or US$330,000 in 2023) and ran for more than 200days in theatres and went on to become the highest-grossing Malayalam film of that year.[18][35] By this time, he declined an offer to direct the Kannada filmMalaya Marutha (1986).[20] As a director who is known for making intense films, critics were surprised when he madeRettai Vaal Kuruvi (1987), a full-length comedy film. Closely based on the 1984 American filmMicki and Maude, the film is regarded as one of the best comedies ever made in Tamil cinema during the decade.[36] The film would serve as a base for his future filmsMarupadiyum (1993) andSathi Leelavathi (1995) which explored similar themes.[37]
Towards the end of the decade, Mahendra made two low-budgeted films—Veedu (1988) andSandhya Raagam (1989). WhileVeedu focused on the life of a lower middle-class urban woman and her struggle to build a house,[38][39]Sandhya Raagam dealt with "old age".[33][40] At the35th,Veedu won two National Film Awards—including one forBest Regional Film—andSandhya Raagam won theBest Film on Family Welfaretwo years later.[39] According to Mahendra, both the films were a tribute to his mother and father respectively.[40][33] He named these two films as his best works as they were made with fewest mistakes and compromises.[41]
In 1992, Mahendra madeVanna Vanna Pookkal which was produced byS. Dhanu. The film had a 100-day run and won the award for the "Best Regional Film" at the39th National Film Awards.[28][42] During this timeM. Night Shyamalan, then a newcomer, approached Mahendra to be the cinematographer for his directorial debutPraying with Anger to which he refused.[43] The next year, he remadeMahesh Bhatt'sArth in Tamil asMarupadiyum. Mahendra made the film as he felt it was close to his personal life.[33] He then came up with a full-length comedySathi Leelavathi in 1995 which was produced by Kamal Haasan.[37] The following year, he made a comeback in Bollywood throughAur Ek Prem Kahani, a remake of his Kannada filmKokila.[19] He then madeRaman Abdullah (1997), which deals with a friendship between two friends belonging to different religions. The film's shoot became the epicentre of a dispute that arose between the Tamil Film Producers Council andFilm Employees Federation of South India (FEFSI).[44] It was reported that members of FEFSI had stopped the filming ofRaman Abdullah as Mahendra was engaging outside cast members in the film. This led FEFSI to go for an indefinite strike which affected to the delaying of several Tamil films.[45][46] The film received negative reviews and failed at the box-office.[11] He then attempted to make film titledVaarayo Vennilave withPrabhu in the lead role, but the project was later dropped.[47]
AfterRaman Abdullah, Mahendra took a break from films during which he madeKathai Neram, a television series based on different short stories, mostly bySujatha.[48] It was aired inSun TV during the early 2000s.[49]
Following a five-year sabbatical, he returned withJulie Ganapathi (2003). The film was based on the psychological thriller novelMisery byStephen King. According to Mahendra,Julie Ganapathi was made on the lines of his previous filmsMoondram Pirai (1982) andMoodu Pani (1980).[50][51] A review fromRediff.com stated, "Balu Mahendra has kept the flag of sensible cinema within the commercial format once again in his latest offeringJulie Ganapathy" and rated the film as one of the best thrillers ever made.[52] In spite of being a critical success, the film turned out to be a commercial failure. For his next filmAdhu Oru Kana Kaalam (2005), he decided to castDhanush in the lead role. Initially he stated that the film to be an extension of his 1979 filmAzhiyatha Kolangal.[53] However, he ended up making a different film. The film was loosely based on his own Malayalam filmYathra released in 1985. When asked about the difference between the two films, he said "Yat[h]ra was the love story of two adults, this is the love story of two adolescents."[54] Shobha Warrier ofRediff.com wrote that the film was "extremely disappointing".[54]
In 2007, he started a film school named "Cinema Pattarai" in Chennai. The institute offers courses in disciplines such as cinematography, direction and acting.[11] After a brief hiatus from films, he made a comeback throughThalaimuraigal (2013), which marked his acting debut. Apart from acting, he also scripted, directed, edited and served as the cinematographer of the film. The film was about the relationship between an ageing man and his grandson.[11] The film received positive response with Mahendra's acting being well acclaimed.[55][56][57] Malathi Rangarajan ofThe Hindu stated, "If Mahendra's aim was to make a film that can compete on a global level,Thalaimuraigal is a concrete step in that direction."[58] Despite being critically acclaimed, the film was a commercial failure.[59] At the61st National Film Awards, it won theNargis Dutt Award for Best Feature Film on National Integration.[60]
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Mahendra was married three times. He was first married to Akhileshwari with whom he had a son.[34][61] His relationship with actressShoba ended in 1980 after she committed suicide following their marriage.[2] Upon her death, the media speculated that Mahendra was responsible for her death. Following that, Mahendra wrote a series of "sentimental musings" in the Tamil magazineKumudam under the titleShobavum Naanum (lit. Shoba and me).[62] Their relationship was explored byK. G. George (Mahendra's junior at the FTII) in his 1983 Malayalam filmLekhayude Maranam Oru Flashback.[63] When the film was released, Mahendra said that the film had nothing to do with him and has not discussed about it with George.[64] In 1998, he married another actressMounika and declared their marriage publicly in 2004.[65][66]
Following aheart attack on 13 February 2014, Mahendra was admitted to Vijaya Hospital inChennai where he was declared dead after six hours ofcardiac arrest.[67][68] Shortly after the news of his death, members of the Indian film industry posted their condolences in Twitter and Facebook.[69] The Tamil film fraternity mourned the death and paid homage to him at his "film school" inSaligramam, Chennai,[27] and decided not to work on the following day as a sign of respect.[61] The last rites of Mahendra were performed atPorur crematorium on the same day.[70]
As a photographer, Mahendra was inspired by the works ofNéstor Almendros andMichael Chapman. Among his contemporaries, he admired the works ofAshok Kumar. Mahendra believed a "well-photographed movie is that which is very close to the script".[13] As a film-maker, he claimed himself as belonging to the realistic way of story-telling devised bySatyajit Ray andVittorio De Sica.[40] Mahendra was drawn towardsrealistic cinema after watching Ray'sPather Panchali (1955).[27] He is credited as being one among the earliest filmmakers to bring "naturalism" in Tamil cinema in the 1970s.[4][71] He usually photographed, scripted and edited all his films.[40] His films were characterised by strong "visual appeal" and minimal number of characters.[72] A majority of his films centre on the complexity of human relationships and are known to portray women as strong characters.[40][73] Although influenced by realism, his filmsMoodu Pani,Rettai Vaal Kuruvi andJulie Ganapathi heavily borrowed fromAmerican cinema.[40]
Mahendra was equally praised for his cinematography and directorial finesse.[11] Described by the media as "one of the finest cinematographers of Indian cinema",[59][74] he was among the first to pioneer innovative colour inSouth India.Subrata Mitra, Satyajit Ray's cinematographer, presented aviewfinder to Mahendra acknowledging his talent.[11] Fellow cinematographerMadhu Ambat described that it was Mahendra who gave "fame" to those cameramen who came out of the FTII, and further noted that he was one of the few film-makers who effectively usedromantic realism.[75] Lauded for usage of "natural lighting",[11][76] Mahendra was considered "one of the few filmmakers in Tamil who believes in telling a story visually".[77] Kamal Haasan described that he was one of the few directors who balanced between art and popular cinema.[78] As a film-maker, he inspired contemporary actors and film-makers such asMani Ratnam,Kamal Haasan andSripriya,[79] He has mentored next generation film-makers includingBala,Ameer,Vetrimaaran,Ram andSeenu Ramasamy.[11] Cinematographers likeSantosh Sivan,[80]Ravi K. Chandran,[81]Natty Subramaniam andK. V. Anand have taken inspirations from him.[82] Thenegatives of his acclaimed films—Moodu Pani,[83]Veedu,Sandhya Raagam,Marupadiyum andSathi Leelavathi—are lost.[76]
Balu Mahendra totally directed 23 films, in 5 languages. Except the 1st two films, he collaborated with Ilaiyaraja consecutively, for 21 films. He intended to collaborate with Raja in the 6 films, that he had already conceived, before icy death snatched him away. While other directors never used Ilaiyaraja for their Hindi remakes, Balu Mahendra was steadfast in persisting with Ilaiyaraja, in all the languages. Their equation was symbiotic & synergetic, with Ilaiyaraja, unfailingly churning out enviable chart busters, for Balu Mahendra. An exceptional highlight of their creative bonding being, the eternal superhit Thumbi Vaa ..... from Olangal-1982, was used by them 5 times, in 4 languages [Mal-1, Tamizh-2, Tel-1 & Hin-1, apart from in Paa by R. Balki & a Vocal-Orchestra Symphony version, in Raja's Concert in Italy–2004, titled as Mood Kaapi.[84]
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