The Cares of a Family Man: Manikandan on ‘Kudumbasthan’-OxBig News Network

A still from ‘Kudumbasthan’
| Photo Credit: Special Arrangement

In a scene straight from Manikandan’s last film, Lover, the actor and I were served some unpalatable tea before our interaction started which turned out to be the first topic of conversation. “Tea’ku set potturukanga pola (I think this is a set work for tea),” starts Manikandan, with his usual banter as we settle down to talk about his upcoming family film that’s aptly titled Kudumbasthan(Family Man). Excerpts:

Tamil cinema was replete with family films a few decades ago from makers like V Sekhar, Visu and Bhagyaraj. These films spoke about contemporary issues of that time. What has changed now and why is there a deficit of such films?

Rajeshwar Kalisamy (Director of Kudumbasthan) and I are fans of Edgar Wright. He asked me to imagine a film written by V Sekhar and directed by Edgar Wright and that’s how he pitched this film to me. I mean no offence to serials, but that format has taken over this genre. But I remember my childhood films like Varavu Ettana Selavu Pathana, Viralukketha Veekkam and Koodi Vazhnthal Kodi Nanmai which realistically portrayed the lives of middle-class families. I remember discussing with friends an award-winning Iranian film about the difficulties a family goes through to get themselves a TV. There’s a similar Tamil film starring Nassar sir and Radhika ma’am. I keep saying how if Sekhar sir had framed the film like say Majid Majidi, then ours would have been international films as well.

Our idea was to try such a film. Presenting a comedy-family film at the pace of an action film excites me. A family man’s struggles have always been there but in today’s digital world, they have evolved. Kudumbasthan talks about these modern problems and the detached mindset neo-liberalisation has given us. The script has given the right platform to discuss these issues comically. A friend had written in a script how we all used to be together in the streets and television confined us to our respective houses. Now, mobile phones are confining each member of the family to one corner of the house. So, films on joint families are not relevant anymore and films only reflect what’s currently relevant in our society.

How was it to play a character who speaks the Kongu Tamil dialect?

Getting the Arcot slang for Jai Bhimor the Thirunelveli dialect to showcase the Tamil residents of Dharavi in Mumbai for Kaala was not difficult because I have friends who speak that dialect. While I have been to Coimbatore, I never observed the language. This film gave me the space to experience it. Every region has its own energy level; those in Coimbatore are calm while the nature of those in Madurai is more vibrant. Just getting the dialect won’t suffice as I have to get the nature and attitude right as well. Giving all of that together while performing was challenging.

If getting into a character is this challenging, does it take a toll on you to come out of it?

Imagine you had a happy occasion at your house and in the set, it’s drastically the opposite as you have to work on a depressing sequence. Forgetting all those happy emotions and holding on to this mood for around eight hours is a task and so is unloading all those baggage after packing up. Lover was a demanding, emotionally draining film. If such a comparatively simpler film is so arduous, I look in awe at what the masters of this craft have earlier pulled off.

Your films have always have always had you in the boy-next-door, relatable roles. What about them intrigues you?

I prefer picking roles with societal relevance. In Lover, for example, the director wanted to make sure my character did not feel alien to the audience and that’s why he would have many similar attributes to many like us. These characters aid in bringing a sense of relevance.

There’s no given route to the next level; it’s all trial and error. I will fail if I follow the trajectory of someone successful before me. Right now, I’m happy with the success of presenting the truth of a film in the right manner.

Actor Manikandan
| Photo Credit:
Shiva Raj S

Your characters are also far from perfect with their fair share of flaws. Do such roles interest you the most?

Very much. We are all like that, right? Also, I’m not an actor who would whip the audience into a frenzy the moment I appear on screen. So how a person weeds out the flaws within him to become a hero excites me the most.

In an interview with ‘The Hindu’, back in 2021, you said, “Whether it is acting, writing or direction, I always feel insecure about myself and whether I have justified the part I have played in a film.” Do you still feel so after a slew of hits?

I still do; the validation I get for a film doesn’t help me with my next film. For example, if I play a thief in a film and I get awards and accolades for it, I might have to play a cop in the next film. My homework and the high praise my work got won’t matter to me now as I’m back to square one. I’ll be insecure once again as I start from scratch. Every time the director says ‘cut’, I go to the monitor to check it. They would have to reassure me that everything is alright. I want all my scenes to go through the audience lens I have within me.

In your recent interviews, you shared your experience of working with talents you once looked up to, such as director Shankar and actors like Rajinikanth and Ajith…

It’s a dream come true moment for me. I want to shout out loud and express my excitement, but I have to put a lid on it and act professional (smiles). I recently met a director who narrated a story to me, and he is someone I consider one of my gurus. There was a time I yearned to meet him, and I would even talk loudly outside his office so that he would notice me. While he was narrating the story, I really wanted to tell him how much this meant to me but I held back myself. This is how my experiences have been.

You also said recently that actors don’t have the liberty to give flop films anymore. How does one experiment with films within these limitations?

It’s challenging. It reminds me of a recent Nassar sir interview in which he recalled a conversation with Vadivelu sir and how he had asked how Vadivelu sir manages to nail his comedy sequences. Vadivelu sir apparently replied, ‘More than appearing good and being convincing for the audience, I find it more important to appear good and convincing in my eyes’. A film can be tagged as experimental if is different from what’s considered industry standard or films that came earlier. To reiterate Kamal Haasan sir, my audience and I aren’t separate entities. If I enjoy a film, the audience will enjoy it.

With all your acting commitments, has writing taken a back seat? Any plans of getting back to direction after your 2016 film ‘Narai Ezhuthum Suyasaritham’?

I have been writing. I write for others and I’m unsure if all of them will come to fruition. I am also writing a film that I want to direct which I’m not sure of when I will start.