Sidharth Bharathan: I would've persisted with acting had I got the roles Naslen is getting now
With a blend of inherited talent and tenacity, Sidharth Bharathan's journey from actor to filmmaker is a tale of serendipitous transitions and unwavering passion for storytelling. Initially drawn to the world of storytelling, he ended up venturing into acting despite doubts about his abilities. Surprisingly, his initial foray into acting proved successful, leading him to star in a handful of films.
However, driven by a desire to explore the intricacies of storytelling, he took a hiatus from acting to work under the tutelage of renowned filmmaker Priyadarshan. He then immersed himself in filmmaking—pouring his heart and soul into his debut project, Nidra (2012). Despite facing setbacks, including a life-altering car accident, Sidharth persevered. His journey as an actor-director continued to evolve organically, marked by intriguing characters and compelling narratives. Reflecting on his early years in the industry, Sidharth acknowledges his lack of clarity and a dearth of suitable roles for him back then. "Had I been offered the kind of roles that Naslen is receiving now, I would have pursued acting further during that time," says Sidharth.
As we catch up with Sidharth, he is busy absorbing all the rave reviews following his revelatory performance in Bramayugam opposite a living legend.
Excerpts:
Were you involved with Bramayugam during the scripting stages or afterwards?
Rahul (Sadasivan) called me after locking the script.
Was there an audition before Rahul finalised you for the role?
No. Rahul casually called me one day and informed me about the role. I was actually taken aback because it was a full-length role, a mysterious one, something I hadn't done before, and quite challenging at that point. However, I found the storyline and his narration to be interesting. The twists and turns in the film really captivated me. What intrigued me even more was when he mentioned he was going to shoot it in black and white. After that, there were no second thoughts about signing the film.
Was your character unnamed in the script as well?
Certainly. The character was referred to as 'velakkaaran' (servant) in the script.
What was Rahul's first brief about your character?
Rahul's initial description of the character was that he's a mysterious guy, who speaks little, appears grumpy and harbours anger towards Potti( Mammootty) but remains silent about it. What we witnessed on screen was written in the script. Initially, this character emerges as a passive presence, but as the story progresses, he gradually becomes integral to the narrative, particularly as it reaches the midpoint. I was also taken aback when my character's true identity was unveiled towards the end. During the initial narration, Rahul didn't disclose my entire character arc; instead, he encouraged me to delve into the script myself. Much like the audience, I was also stunned by the unexpected twist about my character in the end.
Rahul recently explained why Chaathan was unable to discern the true identity of your character, which he had to remove later in order to streamline the narrative. Was the reason included in the original script?
No, the reasoning was not part of the script I initially read. I read the draft that eventually got made. But there were some extended dialogues surrounding my character's true identity, which were ultimately trimmed.
What was the experience like working opposite a legend like Mammootty while portraying such a substantial role?
Bazooka, my upcoming film as an actor, was the first project where I acted with Mammookka, but it faced delays. Bramayugam is technically my second film with him. About the experience of working with him, where do I begin? You're engaging with a veteran possessing immense knowledge of the intricacies of cinema with over five decades of experience. Moreover, he's a superstar, and the sheer joy of working with such a legend was ecstatic. Despite knowing him personally since my childhood, this was our first professional association. Truth be told, it was overwhelming initially, but he helped me settle down swiftly. Working in Bazooka actually served as a stepping stone, allowing me to be free of my inhibitions by the time I worked on Bramayugam—where I shared a considerably large space with him. His inputs proved invaluable, providing subtle nuances to my performance that I can't precisely pinpoint.
Have you dreamt of directing Mammootty sometime?
Of course, it has always been a dream of mine. I've even asked him if I could approach him with my story ideas, but he's also quite busy with his lineup of projects. I hope it happens in the future.
How has that life-threatening car accident changed your outlook on life?
I view it as a transitional stage in my life, a sentiment shared by anyone who has endured a near-death experience. The true impact of such a life-altering event on those around us isn't fully realized until we emerge from it. Following the accident, I bounced back with Varanyathil Ashanka (2017), a kind of satire that wasn't prevalent at that time.
Coming back to Nidra, you had to end up playing the lead after the originally planned actor backed out. Could you walk us through what happened back then?
It happened out of necessity. Just two weeks before the shoot, the actor who was supposed to play the lead role backed out, leaving us in a lurch. It was Sameer Thahir who encouraged me to step into the role, and I thought, 'Why not?'
How would you describe your father, esteemed filmmaker, Bharathan's influence on you as a storyteller?
My introduction to the world of cinema and my initial interest in this medium undoubtedly stemmed from his films. There will be a lot of montage sequences in his films replete with music and imagery. In his directorial debut, Prayanam (1975), which also marked Padmarajan's debut as a screenwriter, we see the protagonist's affair with a foreigner—showcasing a hippie way of life. All of this was depicted through a low-budget approach, yet he managed to create impactful musical montages in black and white. Such montages were a recurring element in his other films as well. Additionally, the stories in his films have always been powerful and poignant, such as Oru Minnaminunginte Nurunguvettam (1987) and Amaram (1991). I still draw references from his films, and it was through his work that I began exploring other filmmakers as well.
Could you tell us about the experience of having worked with your mother, legendary actor, KPAC Lalitha?
She was always our sounding board while we were working on a story. From Nidra (2012) to Chathuram (2022), I have always sought her approval before progressing with a story, and she never hesitates to offer her honest opinion. When it comes to directing her, it's not just about working with a veteran; it's also a personal joy. Also, there's an ease in handling an actor with such a vast repertoire, which is immensely satisfying.
What's your take on the recent controversies surrounding review bombing?
You cannot say that one should not voice their opinions. We have been reading reviews since they were solely available in print. Now, they are published both in print and online. Criticism is a natural part of reviewing, especially when a film is not up to par. However, there is a notable difference in the language being used for criticism nowadays compared to the past. While it's true that everyone has the right to express their views as they please, it's also important to not make personal or hurtful comments while criticizing a film.
Have you finalized your next directorial venture?
Not really. I'm currently working on a couple of projects, and I've received a few acting offers as well. However, everything is still in its early stages. I'm hopeful to direct one film this year.