Unlike the past, when things were dominated by a handful of cliques, the Malayalam film industry is now becoming an increasingly democratic space with passionate artists from all walks of society finding their way in. Shaji Maraad is one such person... a policeman trying to carve a niche for himself. After debuting as a scenarist in 2022 with the multiple State award-winning Ela Veezha Poonchira, directed by his former colleague Shahi Kabir, Shaji is now turning into an independent scenarist with Paathirathri. Headlined by Navya Nair and Soubin Shahir, and directed by Puzhu-fame Ratheena, this police story is scheduled to hit screens this month.
As we reach out to Shaji for a quick chat about the film, he is busy with duty at Ilaveezhapoonchira, the very place that formed the backdrop of his debut film. Shaji has a special affinity for this serene hilltop, located over 3,000 feet above sea level, as it enables him to balance his work and writing... A rare, but hard-earned privilege for a policeman.
The Assistant Sub-Inspector, currently serving his 25th year in the police force, shares his journey in films, Paathiraathri, the evolution of police portrayals, and more.
Excerpts
Before Ela Veezha Poonchira, you acted in films such as Kumbalangi Nights, Nayattu, Salute, etc, mostly as policemen. Were you always drawn towards acting, or was it just a stepping stone?
I was always interested in cinema and used to write and direct amateur plays in school. Even after joining the force, I told myself that I should pursue my film dreams at least after retiring from service. Fortunately, I didn't have to wait that long. We used to have a wall magazine in the Kottayam Armed Reserve (AR) camp where writings and other artwork by policemen would be published. Some of us, including Shahi (Kabir), Nidhish (co-writer of Ela Veezha Poonchira), and I, were actively involved in it. On the magazine's first anniversary, we decided to make a short film, which Shahi wrote and directed. Abrid Shine happened to see my performance in it and offered me a role in Action Hero Biju. That opened the doors, and I started taking up minor roles, mostly to observe the directors' craft and scene choreography. I've done over 25 films now.
Ela Veezha Poonchira had a touch of your lived-in experience. Was Paathirathri also developed like that?
Most of my writings are based on my own or my friends' experiences. I developed this idea from an experience faced by two of my friends in the force who were on patrol duty. During their routine checking, something happened in the pitch dark, which kept them tense all night. It could have had major ramifications, probably ending their careers, but fortunately, nothing terrible happened. I sensed a potential in this incident by imagining it in a darker zone. When I casually shared this idea, Ratheena was interested and asked me to develop it for her.
Ela Veezha Poonchira went into really dark territories. Shahi’s films also have a similar tone. Is it all a result of the harsh experiences in policing?
I wouldn't call it a completely dark film; it's somewhere in between. Any film is a collaborative effort where many people and their visions have to align. A director is essentially a co-writer, and when they insist on something, we have to be ready for a few compromises. I also don't think the preference for dark treatment is because of the policing experience. My upcoming works are not in that zone.
Although you must be familiar with cop life, how was it developing a female police officer character as one of the protagonists?
I initially started writing with two men as the leads, which is how the real incident unfolded. But we later changed one of them to a female police officer, as the dynamics become far more interesting when a woman is placed in a position of power. Ratheena's inputs were also crucial in developing the character, her mental state, mannerisms, etc. I'm sure she knows better about it.
Why didn't you take up station duty where a wide range of cases are dealt with? Won't such experiences aid your writing?
I did station duty for a while, but decided to stay in the camp itself to pursue my film ambitions. It gives me far more freedom to take leave without putting others in trouble. You get free time and, more importantly, less stress.
Unlike before, when police stories rode high on machismo and the force's bravado, we now see more intricate films exploring everyday issues like their stress and mental health. How do you see this shift?
I also enjoyed watching all those celebratory police films, but later realised how far they are from reality. Today, the public knows how a police station functions, or what an SI and CI's responsibilities are. You can't show an IG coming in a jeep and fighting goondas in the market anymore. You have to be honest and realistic, and understand that police officials are not superheroes, but experts trained for certain tasks a commoner might not be able to do. Investigators crack cases mostly by their intuitions and not with lenses or complex case boards, like they used to show in films, and today's audience knows it.
Regarding mental health, it's a fact. There have been various studies on the alarming rise in policemen killing themselves because of stress and work pressure. I personally know many who quit high-paying jobs in the force to join as peons and clerks. They rarely get time to spend with family, which takes a big toll on them. My father might be having a heart attack, but at the same time, I'll be entrusted with taking a rapist or murderer to the dentist. Such situations can break you, and over time, they can even affect your basic character. It's great to see contemporary filmmakers exploring these complex emotions sensitively.
But at the same time, there are also allegations about attempts to whitewash the police force through such films...
There's a dialogue in Idukki Gold where Vijayaraghavan's character says, "Policekaare chathichal punyam kittum" (You will be blessed if you cheat policemen). It had a thunderous response in theatres, which tells a lot about the relationship between the police and the public. People think the police intrude on their freedom, but they are simply acting within the law. Our pop culture has also played a role in widening this rift. I'm not saying all policemen are saints, but there's another side to it. And when we speak from that side, based on our experiences, it suddenly becomes whitewashing. Policemen are not always harsh and foul-mouthed; they also experience pain, agony, depression... and as a storyteller myself, I think it's my responsibility to talk about it. I’m fine with criticisms.