Padmavathi Malladi: We shouldn’t be hesitant to make women-centric films
Padmavathi Malladi, who has previously written for prominent films like Mahanati, Radhe Shyam, and Manamantha, is gearing up for her directorial debut with the upcoming film Gandhi Tatha Chettu. The film also marks the acting debut of Sukriti Veni Bandreddi, the daughter of Pushpa 2 director Sukumar. The film's trailer gained a lot of traction for its earnest theme of non-violence and its female protagonist, uniquely named Gandhi. It has already bagged many top honours at film festivals across the world.
Ahead of the film’s release, Padmavathi opens up about her writing process, the need to redefine filmmaking grammar with changing times, and more.
Excerpts:
Did you always aspire to direct a film since your foray into the industry?
A few years into the industry, I began writing a story about a mother and her daughter. While writing that, I thought to myself, 'If anyone has to ruin it, it rather be me.' (laughs) That’s when the Gandhi Tatha Chettu idea came up and completely engulfed me. So I kept that mother-daughter story aside and began developing this one.
All your previous writing works have been collaborations. How was it to write on your own?
Writing independently gives happiness, but it’s not the right way to do it. There should be someone to give you feedback. Thankfully, Sesha Sindhu Rao, my producer, is a brutal critic. I also used to narrate the stories to others, like my sister's child, and take their feedback.
What was the writing process for this film?
When I wrote the script for Gandhi Tatha Chettu, I didn’t take any pressure. Whenever I had a good idea, I would write. I would keep telling myself, 'It’s a good story; not everyone will understand.' Then crowdfunding happened, Sukriti came on board, and Sukumar sir suggested a festival round for the film. However, I didn’t keep in mind that it has to reach a certain audience.
For me, this was like a children’s storybook — where pictures pop up as you flip the pages—that’s what I have recreated visually. There are extreme wides and extreme closes, no cinematic shots. It’s created differently.
Considering you spent all your life in Hyderabad, what was the research process for Gandhi Tatha Chettu, which is set entirely in a small village?
I have a basic understanding of Telangana’s culture, and growing up in a mixed-cultural environment has enriched my perspective. My mother’s parents were based in Thanjavur, and she studied in a Gujarati-medium school in Hyderabad. This upbringing has allowed me to observe and appreciate various cultures. That said, I admit my understanding of the rural milieu is limited. To bridge this gap during the film’s making, I would visit people’s homes in these areas and engage in conversations with the women there. For instance, when working on the protagonist’s peddamanishi (puberty ritual) sequence, we had detailed discussions with them and tried to bring that into the film.
You have earlier talked about how the film began as a crowdfunding project. How did Sukriti and Mythri Movie Makers come on board?
For our lead role, we were desperately looking for a 15-year-old girl. However, most girls didn’t want to do it for one reason or another. It took us a long time with the auditions, and I was losing my head. That’s when Sindhu saw Sukriti at a preview show and suggested the idea of casting her. So when we approached Sukumar sir, he just asked us to narrate the story to Sukriti, saying, 'If she agrees, go ahead and do it.'
How is Sukriti as a performer?
Sukriti is very much like her character Gandhi. She is honest, real, and unfiltered—a clean slate. I love unfiltered kids. It’s only when they have freedom of expression that they can build their personality. Sukriti is also like that.
The visuals of the protagonist shaving her head stood out in the trailer…
Even as we approached the first schedule, I remember Sukumar sir repeatedly asking me, 'Are you sure you don’t want to use prosthetics?' (chuckles) But deep down, I knew that if she went through with this one act, she could become an example for so many girls.
I recall seeing a news story last year about a school topper who was mercilessly trolled for having facial hair. It was horrifying. Looks should be the least important thing for kids. That’s why it was crucial to stick to the visual of the protagonist shaving her head. You have to lead by example — you can’t just talk about it.
In another interview, you mentioned how you shaved your head once during your childhood. Is the protagonist partly autobiographical?
In spirit, yes. I believe in action over words. When you’re talking, you need to consider so many factors. But when you’re doing something, you can simply go ahead and get it done.
That said, the character of Gandhi is actually inspired more by my sister. Back in school, when my friends and I would cheat, she would immediately call us out! (laughs) On the other hand, Brinda’s character resonates more with me.
You have co-written projects like Mahanati and Brinda. Even Gandhi.. has a female protagonist. What’s your take on the dearth of women-centric films today?
Cinema is a reflection of the times. Our parents’ generation watched an ideal housewife in films and resonated with it. Times have changed—women are not like that; we are more opinionated. As a creator, you have to keep up with this and write characters who suit the times. Like in 35 - Chinna Katha Kaadu, the protagonist is such a strong person, and proud to be a housewife, and it was by choice.
About women-centric films, I don’t think one should consciously try to make them. At the same time, we shouldn’t be hesitant to approach those stories either. I say, ‘Write women’s stories. People are out there waiting for films, and there are only 'n' number of heroes.’
Audience's viewing habits have changed exponentially in the last few years. Do you consider it a major factor when writing scripts?
Of course, it’s a big factor. I think we haven’t even started to cater to the Gen-Z audience or write stories for them. I have seen them get insanely bored at films. Filmmaking grammar has to be redefined from time to time, or else we will become irrelevant. We have to be more conscious and mindful; we can’t go tangentially. Cinema should be in sync with society.
Are you wary of the film being labelled as an ‘artsy’ film or an ‘OTT watch’?
I frankly haven’t done these calculations. I just told a story from my heart. It’s an honest story, and there is something for everyone. That’s how I wanted my first film to be—real and honest.
Any other scripts you are currently working on?
I am collaborating with Brinda director Surya Manoj Vangala on his feature film project. There are a few other ideas, but I haven’t decided which one to pick up next. I am waiting for my calling (chuckles).