Mohanlal discusses challenges of making Barroz: ‘The 3D effect must enhance the story rather than act as a mere gimmick’

With an unwavering determination like that of a child, the cinema legend finally released his debut directorial 68 months after the initial announcement. Remarkably, the release date —December 25 — holds a deep significance in his life, as it marks the day he made his on-screen debut as an actor in Manjil Virinja Pookkal (1980).

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Embarking on a new journey in the same field 44 years after his first foray, albeit in an entirely different capacity, is no small achievement and few ever experience such a milestone. Despite reigning over Malayalam cinema for more than four decades, 64-year-old Mohanlal shows the same excitement for his directorial debut that the 20-year-old Mohanlal had during his acting debut. And Mohanlal attests that through Barroz, he has tried to offer something new to the audience. “It not only features a different way of storytelling but also offers a fresh viewing experience,” Mohanlal shares in an exclusive conversation with SCREEN. “Since we are so accustomed to ‘normal’ films and their viewing and hearing patterns, one must come watch Barroz with a different mindset and an open heart. This is a magical world and its visual and auditory patterns are distinct. Hence, don’t precondition your mind.”

“Barroz is a 3D fantasy film born from imagination and crafted with love for both children and adults. It’s not just about the spectacle but also about rediscovering the joy of storytelling — the kind that makes us dream. That’s my USP. Barroz is meant for families to watch together, for children to be enchanted by its magic and for adults to find moments that speak to the child within them. It’s a simple story layered with emotions, adventure and wonder,” Mohanlal shares, emphasising that it’s about experiencing something new and magical. The director himself has played the titular character in the movie.

Watch Barroz trailer here:

One of the most compelling aspects of Mohanlal’s directorial venture is that it is adapted from the novel Barroz: Guardian of D’Gama’s Treasure, written by filmmaker-producer Jijo Punnoose, renowned for directing two groundbreaking films in Malayalam cinema: Padayottam (1982), South India’s first 70mm film, and My Dear Kuttichathan/Chhota Chetan (1984/1998), India’s first 3D movie. In fact, in the opening scene of Barroz, Mohanlal pays a subtle homage to My Dear Kuttichathan by incorporating a technique Jijo used in the 1984 classic, which played a pivotal role in establishing its reputation as a technical marvel in Indian cinema.

Mohanlal has recreated My Dear Kuttichathan’s gravity-defying illusion in the opening sequence of Barroz. (Image: Navodaya Studio)

One of the most memorable scenes in My Dear Kuttichathan features children defying gravity, climbing walls and walking across ceilings. Mohanlal recreates this gravity-defying illusion in the opening sequence of Barroz itself, offering a glimpse of the more spectacular visual feats awaiting the audience. “They created wonder with nothing,” he says, lauding the team behind My Dear Kuttichathan, who managed to captivate an entire generation despite the lack of advanced equipment and facilities available today.

Actor-director Mohanlal with cinematographer Santosh Sivan on the sets of Barroz.

Discussing the challenges of filming entirely in 3D, Mohanlal explains, “Unlike before, making a 3D film comes with unique challenges these days. Now, we can use special cameras with two lenses to simulate binocular vision, but both cameras must be perfectly synchronised to avoid visual disturbances. One has to be extremely careful while shooting. Also, when cutting between shots in 3D, if the depth perspectives don’t match, the transitions can feel jarring. Cuts must be handled smoothly; otherwise, viewers might experience dizziness or nausea.”

He further emphasises that “the 3D effect must enhance the story rather than act as a mere gimmick. Overusing 3D can disrupt the storytelling pattern.” Highlighting the complexity of the process, he adds, “It is extremely challenging to make a 3D movie, which is one of the main reasons why many filmmakers avoid it.” Praising cinematographer Santosh Sivan for his exceptional work, Mohanlal notes, “When we are shooting a sequence or setting up a shot, he has to envision how it will appear on screen. It’s an incredible skill.”