The opening credits of Jude Anthany Joseph's latest film Thudakkam reads, "A humble gurudakshina to the man I admired growing up." The director was referring to Mohanlal. Though Jude has long been trying to make a film with his idol, destiny had something else in store — introducing the superstar's daughter, Vismaya, and his trusted aide Antony Perumbavoor's son, Aashish Joe Antony. The stakes only go up when you realise Thudakkam comes right after Jude’s all-time blockbuster survival disaster film 2018: Everyone Is A Hero, which was also India's official submission for the Academy Awards. Yet, amidst all the noise, Jude remains confident in his conviction and craft, even while being candidly outspoken.
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Every film is a responsibility, but with Thudakkam, you are shouldering bigger responsibilities of introducing a star kid, that too after delivering a massive hit with 2018...
Responsibilities might keep compounding, but all I can do is put in at least three times my maximum effort. This is a lesson I learnt the hard way. I was so complacent after Ohm Shanthi Oshaana that I started shooting Oru Muthassi Gadha with my first draft of script. That lack of effort reflected on the film's box office result. 2018's success further made me realise the importance of working tirelessly. I also need something challenging to take up a project.
In 2018, it was widely believed that a film of that scale couldn't be made in Malayalam. Similarly with Thudakkam, the challenge was to introduce Mohanlal sir's daughter and Antony Perumbavoor sir's son. Considering their stature, they could have approached anyone in the industry, yet they trusted me with launching their children, which was a challenge I liked.
With the names involved in Thudakkam, did you have to attempt anything different from your usual style?
I'm usually a producer's person, always concerned about time and money. I get anxious and riled up when things aren't done on time or as promised, but with Thudakkam, Antony chettan assured me I could take as much time as I needed. Since the actors are new, he knew we might have to go for multiple retakes. With the producer by my side, I was calmer and more relaxed this time.
There's a general perception that you are short-tempered and impulsive on sets. Do you plan to take the relaxed experience from Thudakkam forward?
I used to be patient and calm during the initial days of Ohm Shanthi Oshaana, but a certain incident where I felt insulted by the production side made me buckle up. Once my tone changed and got stricter, I earned my respect back. Everyone involved in a film's production does this for financial gain. Some are also extremely passionate, but eventually everything comes down to money.
When the same people who expect prompt payments fail to do their work as promised, I get pissed off and even swear at them. I'm not justifying my character, but that's how my experiences shaped me. I actually admire filmmakers like Vineeth Sreenivasan and Basil Joseph who remain composed even when things go haywire.
After delivering a success like 2018, you're naturally expected to scale up, particularly with the kind of offers you had. Why Thudakkam then?
Suchithra chechi and I had been in touch for a long time. Even when I had plans to do a film with Simbu and Mohanlal sir, I never told her about it as I didn't want to misuse our bond. After 2018, I was also in talks for two other films with Ayushmann Khurrana and Sivakarthikeyan, and another project based on the disappearance of the MV Kairali ship, but all that will still take some time. It was around this time that Suchi chechi asked me if I had any project that suits Vismaya. They liked one of the ideas I pitched, but I wasn't sure when I could do it. Later, when Lal sir himself called me to discuss, I didn't have to think further. I kept reworking the scripting until I felt confident.
You said Mohanlal's character wasn't there in the original script. How did you ensure his inclusion felt organic?
Lalettan has appeared in all of Aashirvad's films before, so Antony chettan asked me if we could include him in a shot or two. During the narration, Lalettan found a character interesting and asked me who was playing that part. I told him it's a very small part, but it would be great if you could do it. He readily agreed. Since I had to satisfy the fanboy in me, I reworked the character, enhancing and adding some dimensions. Usually, whenever he does a cameo, the film becomes his, but Thudakkam will still be Meenu's story. Nobody will say, "padam lalettan kondu poyi" (Mohanlal has owned the film)
Including Thudakkam, you've done five films, of which four had female protagonists. Are you naturally drawn towards telling stories from female perspectives?
It wasn't planned; I primarily believe in the content, regardless of whether the protagonist is male or female. Even with 2018, which was a multistarrer, content was the key. During the pandemic, I was mailed around 1600 stories, of which I picked three, and all of them have now been made into films — Sara's, Aashakal Aayiram and Thudakkam.
After Sara's struggled a lot to find buyers, I decided not to do another female-led film, but Thudakkam's story still interested me. In fact, I had plans for another female-oriented film about a married woman with kids returning to college to finish her pending engineering course. Samvrutha Sunil had even agreed to do it, but that's when the floods happened, and my career took a different turn.
Thudakkam might not have faced the same situation as Sara's because of the names attached, but after five years, do you notice any change in the industry’s approach towards female-led films?
No, there's still no proper market for such films, and naturally there will be budgetary limitations. It's never the fault of the female actors. Hardly 3-4 heroine-oriented films release in Malayalam in an entire year, whereas a single top-tier male actor will generally have 4-5 releases lined up. His market won't be affected badly even if one of them fails, which is not the case for female actors.
From my experience, it's hard to find returns for such films. I didn't face any trouble for Ohm Shanthi Oshaana because it had Nivin (Pauly) and Vineeth (Sreenivasan). I made Oru Muthassi Gadha with total freedom on my own terms after a producer insisted on doing a film with me even if it had no stars. Sara's was different. I wouldn't have faced so many issues had it been made with the original cast, but the male actor, whom I don't want to name, backed out, putting me in a spot of bother. It was then that Sunny (Wayne), a good friend, graciously accepted it.
One common criticism regarding your works has been the broad strokes in writing..
I admit that I'm not a great writer. I'm more inclined towards making through which I try to cover up the writing flaws. I write only because I don't have a choice. I prefer it when others write, with my contributions coming in later. But most often, I won't be pleased with the script and rewrite it myself, which, as people say, ends up becoming cliched, cringeworthy or dramatic.
The fact is we have only a handful of good writers in Malayalam, and I've expressed interest in collaborating with them, including Sanjay and Syam Pushkaran. But since all of them are busy, I try working with newcomers who are easier to guide and adapt. Hopefully, someday I'll be able to crack the art of screenwriting.