"In order to attain the impossible, one must attempt the absurd," said Spanish writer Miguel de Cervantes. Strangely, the line was one of veteran director and actor Pratap Pothen's last Facebook posts before he passed away yesterday. The 69-year-old, despite having a limited filmography as an actor in Tamil cinema and an even more limited tryst with direction, made up for the lack of quantity with quality. From playing a docile fiancee in his first Tamil film, Azhiyatha Kolangal, to evoking his inner Norman Bates for Moodu Pani, Prathap has played the grey man in films like Panneer Pushpangal, Varumayin Niram Sivappu, Vazhvey Maayam and Sindhu Bhairavi. His re-entry to acting after the turn of the century saw him playing many gratifying roles in films like Priyasakhi, Aayirathil Oruvan and Ponmagal Vandhal, and he beacme the go-to actor for doctor roles, in particular. As a filmmaker, in Tamil, Telugu and Malayalam, he directed veterans like Shivaji Ganesan, Mohanlal, Kamal Haasan, Thilakan and Nagarjuna.
Here are some cinema personalities speaking of their best days with the actor-director:
Srikanth, Actor
"We spent 20 days together during the shooting of Coffee and Kadhal. He plays my father in the film, and every single day after wrap-up, we would have a bonfire party where the music always started with En Iniya Pon Nilave. He was a passionate filmmaker, who still wanted to prove himself. Imagine making a spy thriller like Vetri Vizha and a rural action drama like Seevalaperi Pandi. In fact, he was saying 'Before I die, I want to direct a film. I'm not sure if actors would trust me, but that is my aim.'
He asked me to use a couple of his scripts and approach younger filmmakers to direct them with me in the lead. We are family friends too. He loved to play the host and took excellent care of us. He used to make his cook feed me my favourites. Apart from his work in cinema, he was also a proficient ad filmmaker having directed the likes of Sachin Tendulkar and Brian Lara. He is a very underrated filmmaker, and it is a pity that not many know of his filmmaking exploits across various industries. His loss is a big void, and I am at a loss of words. I am devastated that I can't make it to his place right now and pay my respects."
Suraj, Director
“While we were making Padikathavan, he shared something that I still follow. He emphasised that with respect to the cinema, the story gets the utmost priority over the artists and the grandeur it is being made with. Sir believed that a mediocre story, elevated by excellent making, would not make the film a hit. Instead, he firmly believed that a phenomenal script, even with simple making, would still make it a blockbuster. This made me prioritise script-writing.”
Thiagarajan, Actor, director
"I knew him from his first film and we became close by the time Nenjathai Killathe (1980) came out. We wanted my son, Prashanth, to study medicine, and it was Sathyaraj who spread the word that my son had the potential to become a handsome hero. Pratap was the first person to approach me to have Prashanth act in his Malayalam film, Daisy (1988). But I wasn't keen as Prashanth was preparing for his entrance exam and that angered Pratap who didn't speak with me for a few years. After Prashanth became an established actor, Pratap told me that he was happy that Prashanth had become a hero despite rejecting his offer. Recently, we teamed up for Ponmagal Vandhal and there was so much emotion every time he called my name. He was a gentleman who spoke with everyone without any inhibition. When Prashanth came to the shoot, he told everyone he wanted to direct a film with him. When we were shooting Andhagan, he called and said that he wanted to act in the film. I told him that we had finalised the cast and I didn't want to cast him in a smaller role. I'm disheartened to know that I can never cast him in a film now. "
Khushbu, Actor
"I have pleasant memories working with PP. That's what we called him, and he will always be special to me as he was the one who taught me fashion. No one presented me as well as what he did in My Dear Marthandan (1990) till then. He worked on every costume and look of mine, and even when I was apprehensive about whether it would suit me, he would encourage me. He took extra care of me. Ironically, I also fought the most with him. But we have always maintained a good friendship. Recently, we did a film under Sundar C sir's direction named Coffee with Kadhal, and PP starred in a beautiful role of a father. I met him on the sets in Ooty and nothing had changed about him. He was full of life, he was happy, and he lived life to the fullest."
Jay R Krishnan, Director
"We worked only for a couple of days. I wish we had worked for more. The way he is involved with the production and the character was impressive. Being a filmmaker, he knows the nuances and stuff and used to have a strong grasp of the craft. He puts a lot of thought into a character. In fact, I conveyed to him that I worked with him out of a desire to have the privilege. When I told him that although the character doesn't demand a great actor like him, I still wanted to work with him, he understood it. He normally prefers meaty roles, but he told me he desperately wanted to direct a Malayalam film again because it's been ages -- he had planned a story and everything. He was gracious enough to tell me to approach him whenever I needed help."
Dileesh Nair, Scriptwriter
"He was an awesome, jolly, and cooperative guy. The biggest contribution he made to our film was his wonderful performance of what was the film's most central character. He understood exactly what he had to do. We had picked him because we were looking for an actor in a particular age group and when we looked at the list of names, we couldn't think of anyone more suitable."
Manu Ashokan, Director
"When I met him to take on his brief role in Uyare, he was a huge bundle of energy despite the fact that he was not in the best of health. I'm referring to the energy of a director, not an actor. I felt that powerful vibe on the set. Maybe I felt that way because I'm a director too. Prathap sir saw a character through the lens of both a director and actor. He was the kind of guy who never hesitated to play even a role with the briefest screentime. While we were doing Uyare, he used to call and message me frequently to remark, with much pride, on the heights the film reached. He sees the film as a whole rather than what he did in the film. An actor might look at only his role, but a director-actor thinks beyond that. He treated Uyare as he would his own film."
Chinni Jayanth, Actor
"He is one of the few directors who has worked with talents like Kamal Haasan and Shivaji Ganesan. Some people live as directors for a few years and then as an actor, but Pratap Pothen was always his own person. His knowledge astonished me. He was like an American in the world of Tamil cinema; he wouldn’t expect light boys to be scared of him. I worked with him in Vetri Vizha, My Dear Marthandan, Athma and Chaitanya, and in all these films, he didn't act like a director but as a friend to me. Veterans like Kamal and Shivaji knew his talent, and that's why he was able to do a film with Kamal under Shivaji's production and he is the only filmmaker to do that."
Gangai Amaran, Lyricist
"I knew him from his first film, Azhiyatha Kolangal (1979), in which I wrote the lyrics for all the songs. Despite being younger than me, we became thick friends, and for most of his films, I have written songs—like Yen Iniya Pon Nilavae (Moodu Pani; 1980). For his film Jeeva (1988), despite Ilaiyaraaja anna being free, he wanted me to compose music. I know his family well and I used to spend time with him and his elder brother who has also passed away. Just about 15 days ago, RS Shivaji and I prank-called him and pretended to be an annoying producer who wanted to work with him for any money he wanted. He hung up angrily, and then, we had to call again to tell him who we were. He laughed about it, and we spoke for a long time. He invited us home and we were planning to meet him, but then, we got news of his demise. I have shut myself from the world and don’t know how to see the lifeless body of a man who was so full of life."
(With inputs from Anusha Sundar and Avinash Ramachandran)
