Bahul Ramesh, a native of Payyanur, discovered his passion for cinema during high school, with strong support from his family. He began writing short stories and later pursued a course in Visual Communication in Chennai. Although inclined towards writing, he chose to study cinematography and made his debut as an independent cinematographer with the Asif Ali-starrer Mandharam in 2018. The lockdown in 2020 provided him with the opportunity to explore screenwriting, culminating in this year's Onam blockbuster, Kishkindha Kaandam, directed by Dinjith Ayyathan. The film has established Bahul as a promising Malayalam writer, who is also penning the upcoming second season of the Disney+Hotstar series Kerala Crime Files.
Reflecting on Kishkindha Kaandam's overwhelming reception, he humbly states, "I’ve tried not to think about the film's success while writing. Such thoughts can lead to insecurity and tempt me to rely on formulas." In a freewheeling chat with CE, Bahul discusses the evolution of scripting this poignant mystery thriller, how his cinematography experience influenced his writing, and more.
Excerpts:
How did you arrive at the title of the film?
The working title was The Curious Case of Appu Pilla, which we never intended to use. During pre-production, discussions with Dinjith ettan and his assistant directors led us to consider various titles. Someone mentioned 'Kishkindha' in relation to the references to Hanuman and Sugriva from the script. Like in the dumb charades scene in Aavesham, we brainstormed several options until one of the assistant directors suggested Kishkindha Kaandam. That’s how we settled on it, and I added the tagline, 'A tale of three wise monkeys.'
You had mentioned that the script was written in just eight days. Had the story been developing in your mind for a long time?
The curious character of Appu Pilla and the journey he embarks on due to his traits formed the core idea of the script. My approach was to focus on this central thought rather than crafting a one-liner, plot, or scene order. I wrote one scene at a time, allowing the story to unfold naturally. As I progressed, I continuously revised earlier scenes to enhance coherence, often adjusting elements from the first half while writing the second.
Was there a significant difference between the initial draft and the final version?
No, the film you see today is almost the same as the initial draft. We only trimmed or minimised a few scenes and rearranged some sequences. The content and most of the dialogue remained unchanged. There were scenes establishing Aparna's character as someone who frequently changed professions while searching for her passion after holding various jobs and travelling extensively. Ultimately, she decides to settle down by marrying Ajayan. One scene showed Aparna taking a temporary teaching position at a school after moving into Ajayan's home, but we concluded that omitting this detail wouldn’t affect the main storyline.
Monkeys play a significant role in the story later on. How did that idea come about?
It was while writing the scene where Aparna takes a stroll around Ajayan's home the following morning, that the idea for the monkeys emerged. In this scene, as Aparna takes a low-angle selfie, she notices something curious in the background atop a tree, although I didn’t specify what it was at that moment. I wanted to introduce something contrasting to pique both Aparna and the audience's curiosity. That’s when I thought of a transistor radio, which seemed out of place. To explain how it got there, I introduced monkeys into the narrative, and they later serve as a stimulus for the central conflict and metaphorically connect to the film's title.
Did you have those unexpected twists in mind beforehand while writing?
I never consciously considered adding twists for their own sake. I envisioned it as a relationship drama focusing on the dynamics between a father and son. There were no deliberate checkpoints while writing to create suspense or intrigue. It all emerged organically as part of the process of advancing the plot.
Dinjith mentioned that you wrote the character of Appu Pilla with the late actor NN Pillai in mind, before deciding on his son Vijayaraghavan...
Yes, instead of considering a living personality, I felt that designing the character traits based on an actor or individual who is no longer accessible would allow for more creative freedom in writing, without being influenced by familiar mannerisms. NN Pillai sir’s persona and writings evoke an enigmatic quality that became a significant inspiration while shaping the character of Appu Pilla. This approach allowed me to draw on the essence of his character without the constraints of expectations.
One of the most impressive aspects of Kishkindha Kaandam is how information is conveyed to the audience on a strictly need-to-know basis. Was this a conscious choice?
Yes, I maintained a minimalistic approach throughout the scripting process, intentionally leaving certain aspects unexplained rather than stating them explicitly in an inorganic way. This method allows me to fill in any gaps as my writing progresses without becoming overly focused on specific story elements. For instance, I didn’t have a clear character sketch for Aparna when I began writing. Later, when she heard Appu Pilla listening to a North Eastern folk song, I indicated that she had visited that region enough to recognise the music's origins, without creating an elaborate backstory.
There are also brief mentions of her changing professions during Ajayan's video calls with his brother and later with colleagues at the office. I aimed to allow the audience to form a three-dimensional picture of her personality by maintaining some ambiguity. I didn't want to define every aspect clearly, unlike many scriptwriters who often provide extensive backstories for the main characters, even when it doesn't significantly contribute to the film.
Did you consider writing any scenes that explore the development of the couple's relationship or their decision to get married?
Not at all. While writing the dialogues, I discovered cues to imply how Ajayan and Aparna might have met and formed their relationship. Also, Ajayan's choice to remarry just two years after his tragedy was inspired by a friend of my father's in need of companionship, and it is reflected in the exchanges between Ajayan and his elder brother in the film.
How do you view the criticisms that have been directed at the film, particularly concerning Aparna's final resolution?
I never intended to write a completely foolproof screenplay. If I had approached it that way and waited for perfection, this film would not have materialised. I enjoy reading and watching stories that leave ample ambiguity, allowing the audience to ponder and interpret the narrative in their own unique ways. I plan to read the criticisms later as part of my learning process to improve in the future. Regarding Aparna's final resolution, I envisioned her as a mature, wise, and noble character who supports a good cause without resorting to pointless accusations, with true companionship between Ajayan and Aparna beginning after the climax.
Was the choice deliberate not to drive its mystery forward as a police procedural, given that Appu Pilla and Ajayan are close to law and order in their work backgrounds?
Yes. Although thriller is my favourite genre, I chose not to rely on conventional tropes typically found in mystery films focused on uncovering the truth. After completing the first half of my script, I asked my father to read it and guess the possibilities for the second half. I noted his suggestions and deliberately ensured the story did not follow any of those paths. In every one of his guesses, the police played a significant role. I wanted the mystery to unfold from more grounded characters' perspectives, which is how Aparna emerges as the Sherlock Holmes figure in the story.
How did your experience as a cinematographer influence your approach to writing the script?
From my past experiences, logistical considerations significantly influenced the planning of shoots while writing the script. As a cinematographer, I prefer selecting locations where we can work for at least half a day. For instance, the film features two important scenes of Appu Pilla visiting the hospital, which require more than half a day to shoot. While these scenes are crucial to the plot, I must also justify the added expenses for the producer, including rent and electricity costs. If that's not viable, I usually relocate the scene to a site where another scene is already planned.
As a cinematographer, does your screenplay tend to be highly detailed and rich in visual descriptions, similar to that of a novel?
Yes. I love reading novels and short stories that evoke strong imagery, so I tend to write vivid descriptions akin to literary works, similar to Santhosh George Kulangara's descriptions in Sancharam, to help readers visualise the surroundings. While working on this script, I wasn't sure if it would become a film, so I aimed to create a rewarding experience for anyone who read it, hoping it would provide at least as much pleasure as a children's comic book.
Some viewers are drawing parallels between your film and Christopher Nolan's Memento (2000), particularly concerning the theme of memory and Vijayaraghavan's character...
Although I am a die-hard fan of Nolan and consider The Prestige (2006) one of my all-time favourite films, Memento was never an inspiration for me. Many other films explore themes related to memory, but I wasn't particularly concerned with them or inspired by them. What may have influenced me is the emotional resonance of the relationship aspects in films like Interstellar (2014) and Inception (2010).