In a theatre full of audience watching a thriller or a drama, it is hard to gauge the reaction until they come out and tell you. But if a comedy falls flat, the silence is that much louder. “I know right,” admits GV Prakash Kumar, who headlines debut director Maria Raja Elanzhecian’s Happy Raj. The actor confesses that he gained confidence after Maria shot a couple of key comedy scenes from the film on his phone with his friends. “I loved it. So it wasn’t just funny on paper.”
GV Prakash adds the team went the extra length to model the protagonist after him. He says, “Maria and his assistants went back and watched my films to bring back the body language and voice modulations of my earlier roles.” They are also particular about making it relatable to the contemporary audience. GV Prakash confesses that he works with a young team so he can play relatable characters. “I am not active on social media. It is only when you get to work with a young crew like in Happy Raj, I get a glimpse of the popular culture. That is why it is important to work with young blood. It opens up possibilities.” While trying to expand on why he limits social media interactions he places a general advice, “I would request you to stay away from social media. It is always better to live your life as it is than try to live it through a digital filter.” Speaking about limiting his interactions on social media, the actor-composer says, “When I comment on a post it attracts a lot of attention and some people use that to spew negativity. Sometimes, they say things just to elicit some reaction out of you. So, even if I go online, I avoid going to the comments section.”
On the topic of abstinence, Happy Raj brings back actor Abbas to Tamil cinema after decades. GV Prakash says working on the film was his first interaction with Abbas. “But of course, I’ve met his wife Erum Ali while working in Aayirathil Oruvan. She did the costume designs for that film. Abbas sir is a very nice soul and it was great working with him in Happy Raj. I wish the best for him and I hope our film acts as a proper comeback for him.” On whether he wishes to work with anybody else he grew up watching on screen, GV Prakash says, “I mean, they are not alive now, but I would have loved to work with Nagesh sir and Manorama ma’am. I would have loved to cast them in my films. Even as he ponders on his acting wishlist, GV Prakash is set to lock twenty years in the film industry this year, as his debut as a composer, Veyil, hit the screens in 2006. Looking back at the journey, he draws the one big lesson he learned over the years. “Every Friday we learn, unlearn, and learn some more,” he says with a smile. Expanding on that answer, he says every time a director comes to him to get music for their film, they add a fresh perspective to how he looks at things. “For example, when Ken (Karunaas) came to me for Youth, I learned a lot about what the younger generation looks for in music.” But as for the director who surprised him the most with their approach, he says, “It was Selvaraghavan. Aayirathil Oruvan was the most surprising project I ever worked on. A close second was Anurag Kashyap in Gangs of Wasseypur. The way they think is completely different. They got fresh music out of me.” As for whether it is important for a composer to have their own unique sound as compared to constantly reinventing themselves, GV Prakash says, “Versatility is more important for a composer. Maybe a larger sound variation. The Ilaiyaraaja who did Thalapathi also did Tik Tik Tik and Muthal Mariyathai. The same goes for AR Rahman who delivered Kizhakku Cheemayile, Kannathil Muthamittal, and Aaytha Ezhuthu. They have such great diversity. You should have bigger diversity to your sound card. That is what I learned from these legends.” But he is also aware of the limitations. “After 750 songs, you can listen to my song and easily identify that I did it. That is unavoidable. But, the question is whether I am still in the game, whether I can still surprise you. And I will strive to do just that,” says GV Prakash.