Jithin Laal: ARM is a fanboy film dedicated to Tovino
Belief. It can make or break people. As a debutant director, when Jithin Laal decided to make an ambitious triple-action period fantasy film, not many around him were sure about its feasibility. But, Jithin believed. When he first pitched the idea to Tovino Thomas, the actor was still finding his feet in the industry. Tovino himself had apprehensions. Yet Jithin believed. This relentless belief in his vision inspired him to hold on against all obstacles for almost eight years. A former assistant to Basil Joseph and RS Vimal, Jithin utilised the waiting period wisely to develop his craft. He made multiple storyboards and learned the basics of Unreal Engine, a 3D creation platform used primarily for video games. It enabled him to make a 40-minute-long previsualisation so that he could convince people of his vision. Eventually, Jithin won all their trust to make Ajayante Randam Moshanam (ARM), which is now a Rs 100 crore grosser at the box office. The journey hasn't been smooth, but the director is delighted that his long wait and efforts have paid dividends.
Here, we talk to Jithin to learn more about his thought process, his creative choices, and his plans for the future.
Many, including Basil and Tovino, suggested debuting with another film before taking on an ambitious subject like ARM, but you persisted with it. What about this project kept you motivated for so long?
It was the confidence in the material on paper. It's not easy to make fantasy films in Malayalam, but this script had everything in it to be a wholesome entertainer. The film is a huge hit today because it has a soul with strong emotions and drama. We intended to make an easily accessible film for viewers of all age groups, especially families, who visit theatres purely for the joy of getting entertained. Sometimes, I even wonder what's so special about the film when people say they have watched it 5-6 times. But, I guess that magic lies in Sujith (Nambiar) ettan's writing. I'm glad I could visualise it.
As you said, fantasy films are rare in Malayalam. Despite being aware of the risks, what prompted you to explore it with your debut film?
I'm a huge fan of fantasy adventure films like Harry Potter, Lord of the Rings, Indiana Jones, etc. Though such films are rare here, there have been some good ones like My Dear Kuttichathan, Sakshal Sreeman Chathunni, and Anandabhadram. As a kid, I loved watching Nagamadathu Thampuratti and the world shown in it. Naturally, I was drawn to Sujith ettan's script, which is a mix of everything I love and wish to see on screen. Moreover, I felt it had all the potential to showcase our rich culture and folklore.
Was a 3D version always in the plans?
No, it fell in place only a few days before the shoot. During discussions, many, including our editor, DOP, and sound designer, felt 3D would be a good option for a film like this. There's a common misconception that 3D is all about visuals coming closer to our eyes, but it was originally employed to convey the depth of the story. We wanted to ensure it doesn't come across as a gimmick.
The heist sequence in the second half is one of the biggest highlights of the film. How did you crack it?
In the script, it was just written that Maniyan steals Chiyothivilakku from the palace. But, I felt the scene lacked impact as it is. I wanted the palace and its surrounding geography to have a fantastical feel, so I visualised an Angkor Wat-like palace on top of a cliff. Since we couldn't find a suitable location, we shot the exterior portions in Bekal Fort and developed the rest using CGI. We shot some interior portions in a 1000-year-old temple, while the rest were filmed in sets.
To make the heist segment all the more thrilling, I showed Sujith ettan references like the underwater heist sequence in Money Heist, the adventure portions in Indiana Jones, and some Chinese mythological films. I also remember watching a Bengali film about treasure hunting, which ignited a spark to incorporate mythology or astrological elements. Inspired by that, we planned to design a lock based on the 10 avatars of Lord Vishnu, but we later changed it to the Navagrahas. It's a very rooted concept that has been there in our mythology long before the scientists discovered it and I wanted to show it in my film. The lock system and the chamber where the lamp is safeguarded were filmed using VFX. The whole sequence was easier to execute because of the previsualisation.
Malayalam filmmakers don't always have the luxury of doing extensive pre-production work, but how important is it for a film like this?
Most film industries abroad, including Hollywood, focus more on pre-production because they know that's the phase where films actually get made. Unfortunately, here, we prioritise production and spare very little time for planning. As a filmmaker, I enjoy pre-production more. I don't think I can ever do a film immediately after getting an artist's date.
ARM rides heavily on Tovino's shoulders, with him present in almost 95 per cent of the scenes...
I've known Tovi for ten years now, and ARM is a fanboy film I dedicated to him as a friend. Right from the outset, I wanted it to be an out-and-out Tovi show. I've seen many films where his performance was intentionally neglected to boost the other actors in it. But, I assured him that this film won't be like that.
Of the three characters, there seemed to be an extra emphasis on Maniyan...
We knew people would be more excited about Maniyan because such larger-than-life roles always grab attention. Tovi also handled the role brilliantly. Ajayan was the toughest among the three because he has played many such guy-next-door roles before. It was a challenge for him to ensure Ajayan looked distinct. He is also the film's protagonist, going through a wide range of emotions. His love for Lakshmi is the film's drive.
Among the other actors, Surabhi Lakshmi's performance stood out...
I've known Surabhi from Ennu Ninte Moideen for days and felt her potential hasn't been fully utilised yet. We initially had a couple of other options for Manikyam's role, but finalised Surabhi because we wanted someone who could convincingly play the older portions. We didn't want it to be too theatrical or look like some fancy dress competition.
Many feel the overall treatment was a bit too grounded despite the potential for more high moments. Your thoughts?
Our process involved a team of people who would constantly discuss and develop the script. Besides that, I used to take opinions even from random people. We worked on 25 drafts, during which we tried all permutations and combinations. As a director, I finalised this structure. We didn't want to intentionally force in too many high moments, but we did prioritise the set pieces in it. We knew the everyday village portions may not be as exciting, so that's why we intercut to Maniyan in between. Unlike other films, ARM doesn't have a single storyline. So, it was challenging to properly design the structure and ensure the audience didn't lose the connections.
Some comments said, "This is how Rajamouli would have imagined Meesa Madhavan." How do you see such remarks?
I'm happy with such comments, as long as they are in a positive sense (laughs). Since I'm not a film school product, my works will be inspired by the films I grew up watching, which include Meesa Madhavan. Even Tarantino used to spell it out loud in his films. No one is creating anything new here; everything is inspired. That's why I love Atlee's films. We can see the influence of old films in his works, but he packages them neatly as wholesome entertainers.
My friends often say I live in a fantasy world and that's what is reflected in my film. I didn't want to show the existing mountains in Kerala. Though I haven't been to Vietnam, I was amazed to see videos of their mountain ranges and I tried to incorporate that in my film. It's like how James Cameron showed us an inverted version of the Chinese mountains in Avatar. I also wanted to do something like that for worldbuilding. Similarly, while reading Sujith ettan's description of a fight happening atop a waterfall, the first visual that crossed my mind was the fight sequence on a cliff in Black Panther.
Any sequel plans for ARM?
Well, we haven't said everything about Maniyan or Kunjikelu or even Chiyothikavu. Sujith ettan and I have already finalised nine fantasy period subjects, and some of them might have connections with these characters. It's Sujith ettan's universe and as of now, I would prefer taking these stories forward. My next also has a similar setting—an alien invasion story set in a rural background.
What's your biggest takeaway from ARM?
I've learned the importance of adapting as things always don't go as per plans in this industry. Things are not very systematic here and I would like to rectify it within my capacity. I no longer have an identity issue, so I hope my voice will be heard henceforth. More people will now trust my vision and I can guide others also. There are plenty of storytellers out there waiting for an entry and I'm willing to help those who set out with big dreams. We don't have to follow what other industries are doing because we have enough wealth in our own backyard. It's important to realise that our culture is rich with intriguing stories, waiting to be explored.
