B Unnikrishnan: ‘My political views do not align with that of Christopher, but…’

In an exclusive interview with indianexpress.com, director B Unnikrishnan discusses his recent film Christopher starring Mammootty, why his Mohanlal-starrer Aaraattu did not work out the way he intended, the recent events at K R Narayanan Institute, and the factors that determine a film’s fate in this day and age.

Edited excerpts:

How is Christopher doing? What are the responses like?

I am happy with the responses we have been receiving. People in general are appreciating the making and style of the film. For a filmmaker, such responses are highly rewarding.

In contrast to your previous works, which placed the utmost importance on their stories, Christopher is a theme-driven movie. While Christopher’s theme of violence against women and how many culprits get away due to a “weak system” is extremely sensitive, the story wasn’t written by you. What factors led you to take on the project, then?

If you remember, I have also done a film called Villain (2017) starring Mohanlal. The thematic elements and socio-political stances of Villain are diametrically opposite to Christopher’s. In Villain, Mohanlal’s cop Mathew Manjooran resists the push to become a vigilante. Even when he apprehends the person responsible for the deaths of his wife and child, he chooses not to take law into his own hands. “Revenge is a disease that eats away the person carrying it within,” says Mathew Manjooran. Despite the huge successes of vigilante stories like S Shankar’s Indian, Hari’s Singam series etc, Villain’s approach was completely different. So, when Udaykrishna came up with a concept that was directly opposite to that of Villain, I felt compelled to experiment with it so that my oeuvre would include both types of movies.

Yet I must also admit, despite the fact that violence against women is a significant socio-political issue in our day and age, I don’t aagree with the solution that Christopher, the main character, suggests. Occasionally, a movie we make may not reflect all of our beliefs. In Christopher, we are travelling through the internal life of this man. His backstory illustrates everything that went into shaping who he is now. The director does not necessarily endorse the subject’s public positions just because they are depicted in the film. It’s also absurd to think that moviemakers agree with every stance their characters adopt.

One of the criticisms against the film is that it glorifies extrajudicial killings…

As I previously stated, my political views do not align with that of Christopher. Villain was a film rooted in my political stands. Unfortunately, nobody discussed the movie’s political undertones. As a person who makes mass-appeal movies, a story’s main character, his internal life, or his actions might also draw me in. Christopher also fits this description. There were many things that drew me to the guy. But, I don’t believe his actions are right or deserving of commendation.

You have so far helmed 12 feature films and a segment in an anthology movie. Up until Aaraattu (2022), most of your directorial ventures saw you donning the writer’s hat too. First Aaraattu and now Christopher—two films back-to-back in which you worked on someone else’s script. Are you taking a break from writing?

To be honest, there are a few reasons behind that. First off, rather than juggling both jobs, writing and directing, I’ve always wanted to try working on someone else’s script. I have known Udayan (the screenwriter who penned the scripts for Christopher and Aaraattu) for at least 20 years. He is one of my closest friends in the film industry and one of the gentlest people I have come across in this field. During the Covid era, he was one of the very few people I used to spend time with. We first felt like making a movie together during those interactions. After that, we got to talking about stories, and Udayan narrated to me a couple of ideas. We even discussed a movie about an elephant calf. We locked in two projects as the discussions were progressing, and Mohanlal said okay to one of them (Aaraattu) while Mammootty to the other (Christopher). We were forced to begin working on these projects back-to-back owing to certain reasons. Yet that doesn’t imply that I have taken a break from writing. Simply put, I’m attempting to work with more writers these days.

Director B Unnikrishnan with screenwriter Udaykrishna. (Photo: Facebook/Unnikrishnan B)

Aaraattu was entirely different from the movies you had made up to that point. Even in your earlier projects with Mohanlal, the story and Mohanlal ‘The Actor’ were always the main priorities. But the centrepiece of Aaraattu was Mohanlal ‘The Superstar’. The movie ended up facing a great deal of criticism. When Christopher arrived, you resumed your practice of placing the most emphasis on the material. What transpired in Aaraattu, then?

Such critiques undoubtedly had an impact on me and they did prompt me to correct myself. Criticism should always be heard and welcomed. About Aaraattu now… I wasn’t particularly at ease with that particular genre to begin with. I decided to take on that endeavour for a few reasons that I don’t want to make public.

Even though I was aware that Aaraattu was not in my zone, the idea that Mohanlal would parody the films that made him a superstar drew me in. I felt like that would be fun. But, I’m not sure how much such parody components were comprehended by the general public. I’m not sure why they didn’t turn out the way I wanted them to. Perhaps they became repetitive… I found Mohanlal’s dialogues like “Kaalaakalangalayi mudangi kidakkunna ulsavangal nadathikodukkunna aalanu njan” (a parody of his character Jagannadhan from the 1997 blockbuster film Aaram Thampuran) extremely hilarious. There were a number of these moments in the film, including one that parodied Chandralekha and Sargam. Unfortunately, a lot of people mistakenly believed that we incorporated such sequences on a serious note. But in reality, they weren’t… If we had kept up that parody to the very end, I think it would have worked. After a certain point, it was a mistake to entirely abandon the spoof components and move on to a serious tale of an undercover agent.

Yet, I accept full responsibility for Aaraattu’s failure. Neither Mohanlal nor the writer Udaykrishna are at blame. Director B Unnikrishnan signed the movie and I take full responsibility.

According to a recent OnManorama report, about 90 per cent of Malayalam films that were released in 2022 were not lucrative. Such statistics are emerging as Malayalam films gain awareness on a global scale. Isn’t this situation worrying?

How is Telugu cinema doing, may I ask? Tamil movies? While talking about the Tamil industry, people only mention the names of Vikram (2022) or a Vijay-starrer or an Ajith movie… There too, at least 90 per cent of movies end up being box-office failures. Hence, I don’t think this is a problem that just affects the Malayalam film business.

It’s important to note that after Covid, the parameters of theatrical collections have changed. For instance, a movie is now considered a superhit if it brings in Rs 8 crore from Kerala theatres, as opposed to the pre-Covid era when a movie was only considered a superhit if it eked out a theatre share of Rs 14–15 crore.

This is because a sizable chunk of those who previously went to theatres often no longer do so. At the same time, youngsters make up the majority of film-going audiences. At least 60 per cent of those who consider going to cinemas as an ‘experience to be enjoyed with families’ are yet to return to the halls. They continue to stay away as movies arrive on their screens through OTT platforms about 30 days after the premiere. So, the exhibition of films in theatres is currently facing a lot of challenges.

Simultaneously, those within the industry still have a very hostile attitude towards OTT platforms. I can tell you with absolute conviction that big-budget Malayalam films, be it starring Mohanlal, Mammootty, Prithviraj, Dulquer Salmaan or Tovino Thomas, can no longer exist by depending solely on theatrical revenue. The industry can’t function that way anymore. OTT is definitely a major source of revenue. Thus, it makes no sense to be hostile to OTT platforms after using them when necessary. Our viewing preferences have evolved, and that needs to be acknowledged. Since we unquestionably require big canvas projects, we must appreciate the crucial role that new revenue streams, including OTT platforms, play in enabling us to invest significant capital into such films. The same holds true of overseas markets too.

One additional thing I can tell you is many films that you may consider to have flopped really managed to recoup their production costs, thanks to the aforementioned new revenue streams.

B Unnikrishnan with Mohanlal and Udaykrishna. (Photo: Facebook/Unnikrishnan B)

But, is there anything the industry can do to improve the situation?

The industry can’t do anything “to improve the situation”, it can only cope with the changes. The industry shouldn’t attempt to modify the audience who are undergoing a change; instead, it should change itself in response to the audience.

Frankly speaking, this is a very complex question that cannot be answered in the binaries of yeses and nos. Let’s dig a little deeper. Malikappuram was the most recent film to have a successful theatrical run. Was it a film that resonated with any of the post-Covid sensibilities? Certainly not! It was created by beading several elements that have previously worked for us, such as emotional scenes and the human attachment to gods. The film’s theme of ‘a child’s relationship with god’ is one terrain on which Indian cinema has always thrived. We have a plethora of films with that theme. Even as we discuss post-Covid sensibilities, Malikappuram stands in front of us as a blockbuster. Malikappuram drew to theatres a large number of people who had been staying away from cinema halls for a long time.

Now, consider in tandem the number of films, which came with post-Covid sensibilities, that tanked at the box office. Many brilliant films made by young filmmakers that are now celebrated on social media platforms were box-office flops. As a result, we can’t say for certain what would help us.

People will now be more likely to go to halls based on whether they believe a particular film is worth seeing on a theatre screen. Components that have always helped films, such as relatability and the ability to provide collective entertainment, will continue to be important. As a result, I don’t believe that the films that succeed in the future will only be those which embody post-Covid sensibilities.

Kantara is an excellent example. Though it did not break any sensibilities, people empathised with the protagonist’s final transformation, and the film went on to become a huge success. Another example is Lijo Jose Pellissery’s upcoming Malaikottai Vaaliban starring Mohanlal. He is preparing a big film and rightly so. And Lijo is already promoting the film as one worth seeing in theatres, which is the right thing to do. The same is true for Prithviraj. He will, through Empuraan, break all sorts of benchmarks. The production of Empuraan will be on a scale never seen, heard of, or discussed in the Malayalam industry. Dulquer Salmaan is also aiming big through King of Kotha.

In the midst of all these, small projects will also work. Films such as Jan. E. Man and Romancham proved the same. So, there is no clearcut answer to your question. A lot of factors work in this dynamic.

Just as discussions about caste discrimination in the film industry were becoming more audible, a series of events unfolded at the K R Narayanan National Institute of Visual Science and Arts (KRNNIVSA) in Kottayam recently. Even as the institute’s former director Shankar Mohan was accused of undermining reservation norms for admissions and discriminating against the staff on the basis of caste, filmmaker Adoor Gopalakrishnan, who was KRNNIVSA’s chairman at that time, received harsh criticism for the stance he took. At the same time, what bothered people the most was the seemingly convenient silence of many within the film industry, particularly the seniors and influential figures. What are your thoughts on this?

Senior film personalities such as directors Kamal, Aashiq Abu, Mahesh Narayanan, and Amal Neerad did come out in support of the protesters. To express my personal viewpoint, I have been with the students since Day 1. You are free to ask any of them. I used to talk to them every day. I did take the initiative to speak with government officials about their concerns.

In this case, I’ve always been very clear about my position. Shankar Mohan’s stances at KRNNIVSA were unacceptable! With all due respect, Adoor sir’s positions were also retrogressive. It was all very unfortunate. I believe, because a person like Adoor sir was involved, the authorities took their time and made a careful decision. But, in the end, the students stood vindicated… The public understood that the students were right. The only organisation that expressed solidarity with the protest was the Film Employees Federation of Kerala (FEFKA), of which I am a member.

What are your comments about the ongoing faceoff between film personalities and film journalists in Kerala?

I don’t believe those in the industry have a problem with film journalists. In my opinion, we should always welcome criticism. We have a long history of criticism. Kozhikodan, Cynic Vasudevan Nair, Shanmukhadas, C S Venkiteswaran, GP Ramachandran et al are a few names that immediately come to mind, who mercilessly dissected films. I too used to write critical pieces for Malayalam weeklies.

Previously, if you sent a piece to one of the weeklies, they might or might not publish it. There was uncertainty. But the situation has changed. With the advent of social media, people can freely express themselves in real time. Hence, we should utilise it more responsibly. Criticism should not devolve into mere abuse.

Recently, a couple of film organisations met and decided to impose regulations on recording the reviews of audiences as soon as they come out after a show. A lot of people assumed that I and FEFKA were behind this move. But we weren’t! This decision was taken solely by producers’ and exhibitors’ associations. We aren’t even concerned about such a practice. Neither I nor my organisation has any issues with online reviews or criticisms. You can definitely write about any work, even in a vigorous manner, without picturising those associated with it as ‘absolutely worthless’.

During a recent event, actor Baburaj suggested waiting two days before posting one’s opinion about a film in the public domain in order to give the work breathing space, which, he said, may help it in some way. Is this a possibility?

Absolutely not! We cannot expect people to do so. It is very instinctive to share one’s thoughts on a film with friends or via social media platforms. We cannot restrict it, nor should we attempt to do so. The word ‘review’ means ‘re-viewing’, right? Why restrain a viewer from re-viewing what he or she has just viewed? We cannot and should not attempt to regulate reviews. Having said that, I’d like to reiterate my previous point: a review should be a review. Your writings should not be used solely to mock those associated with a film.

What are your upcoming projects?

I’m currently planning a short vacation. But I’m also working on two scripts, one with Sharis Mohammed, the writer of Jana Gana Mana, and the other with Devadath Shaji, the co-writer of Bheeshma Parvam. While Sharis is working on the first project’s story, I will write the screenplay and dialogues along with him. I’m already very excited about that screenplay because it’s an out-and-out political film. The movie will be a beautiful blend of politics and emotional bonds. Hence, it should be written with great care, and we are allowing ourselves plenty of time. There’s no rush. I’m also working on a project with Suhas and Sharfu, who worked as co-writers on films like Virus and Puzhu. As you can see, all of these writers are young. They live in the world of new ideas. Working with them allows me to stay updated and contemporary.