'Narayaneente Moonnaanmakkal' focused on the lives of three brothers and their ill mother. It delved into the family dynamics and societal structures.
Published Feb 22, 2025 | 8:00 AM ⚊ Updated Feb 22, 2025 | 8:00 AM
Sharan Venugopal. (Supplied)
The recent Malayalam release Narayaneente Moonnaanmakkal, directed by Sharan Venugopal garnered a good response from the audience for its content-driven plot.
The film was also enhanced by powerful performances by Joju George, Suraj Venjaramoodu, and Alencier.
The family drama focused on the lives of three brothers and their ill mother. It delved into the family dynamics and societal structures.
In an exclusive interview with South First, Sharan Venugopal spoke about his debut feature film and his thoughts about storytelling.
Here are the edited excerpts:
Q. The story of Narayaneente Moonnaanmakkal is relatable. Is it based on personal experience since you belong to Koyilandy?
A. This story is not entirely based on my personal experiences, but it incorporates elements I heard about and came to know during my childhood in my hometown, Koyilandy. The people and the place were fascinating, and there was a sense of nostalgia while writing the story.
Q. How was it working in your native place?
A. I know Koyilandy very well, as my ancestral house is there. The people of Koyilandy are also very close to my heart. Many of the elements of the village are featured in the movie, and the locals were incredibly helpful during the shooting.
Q. What made you do an emotionally heavy family drama?
A. I wanted to make the movie from that space, and it was an organic process. There was no preconceived idea of making a family drama.
I told the story in my own way, aiming to convey it in the best possible manner. I didn’t feel any external pressure regarding the pace or other aspects of the film.
Q. How did you choose the main three actors Joju George, Suraj Venjaramoodu and Alencier in the movie?
A picture of Sharan Venugopal. (Supplied)
A. When I shared the story with the actors, I had the roles they would play in mind. When I told Joju George about the character Sethu, it was specifically meant for him. He mentioned that he could relate to the character on a personal level, which made it easier for him to portray. While writing the story, I had these actors in mind.
Q. What were your thoughts while writing the women characters in the movie?
A. All the characters in the movie, including the women, have a background. This also applies to the smaller roles with limited screen time. Each character has a clear relevance to the story, a backstory, and distinct characteristics.
Q: Were there any objections to the intimate scenes that played a major role in the story’s plot?
A. I knew that people would be uncomfortable with those scenes, and that was my intention. It was an essential part of the story, and I didn’t include it just for the sake of adding such a scene. After writing it, I didn’t feel the need for self-censorship. Many viewers accepted it, and I received feedback along those lines. However, I also heard from some people who didn’t like it and felt uncomfortable.
There were discussions about whether it was necessary for the story. Many people shared with me that they had similar experiences.
In my short film Oru Pathira Swapnam, there was also an uncomfortable scene. In everyone’s life, there are such uncomfortable situations, and portraying them on screen is a challenge. A filmmaker should be willing to accept that challenge.
Q. How has your training in Satyajit Ray Film and Television Institute helped you as a filmmaker?
Sharan Venugopal with technical team at the studio. (Supplied)
A. As a filmmaker, the institute has played a significant role in shaping me. Many of my perspectives were developed during my time there. Various factors, such as academic inputs, films, and other aspects, have contributed greatly to my growth.
Q. Can you comment on the technical aspects of the movie?
A. Appu Prabhakar, the cinematographer, was a senior at my institute, and I had always admired his work. We kept in touch, and when I shared the script with him, he was eager to join the project. He understood the script, and our collaboration was seamless. Throughout the shoot, we had a clear workflow.
Jayadevan Chakadath, the sound designer, is someone I also admire. His work in this film is brilliant, though I feel he hasn’t received enough recognition. The film features sync sound, done perfectly, with even the smallest sounds thoughtfully placed.
The music, composed by Rahul Raj, has been widely praised, with many calling this his comeback film. I’ve been a fan of his music and albums, so working with him on my first film was a great experience. He had a clear vision for the film’s soundtrack.
Q. Parallel films or mass films, what’s your choice?
A. I would like to work on movies of all genres. I’m always seeking new experiences in life, and I don’t want my next film to follow the same pattern as my first. I watch films from all genres and want to explore different types in my work.
Q. What are your future projects?
A. Discussions are happening on two projects. An official announcement is awaited.
(Edited by Sumavarsha)
