The walls of Mari Selvaraj’s office are adorned with numerous monochromatic artworks. The most striking of these depicts a young Mari seated at a table, surrounded by books he has authored, in the esteemed company of BR Ambedkar, Periyar, and Karl Marx. It’s a profound piece and fittingly sets the tone for our conversation. “It’s a gift that brought me immense joy,” Mari recounts. “To think of someone envisioning such an artwork speaks volumes. The books I’ve penned stem from the knowledge I’ve gleaned from the teachings of these three visionaries. We all have stories to tell, but the crux is whose lens we use to narrate those stories.”
As Mari Selvaraj gears up for the release of his new film, ‘Vaazhai,’ he shares insights into his journey and the challenges that come with being a filmmaker.
“With Maamannan, my nerves were frayed, particularly because of the notable names involved in the project. However, with Vaazhai, my anticipation is centered around the reactions from those who know me personally. This film doesn’t just reflect a segment of my life; it’s about transforming a personal story into something socially relevant. Our society has imparted certain experiences onto me, and merging those with contemporary understanding to create a film might reveal to the audience my background and the society we dwell in. I believe this fusion will produce something meaningful.”
From Mari’s perspective, if a director truly wants to gauge their prowess, they should venture into making a children’s film. “Engaging with the untainted world of children is a formidable task. It tests whether we retain enough innocence to understand ourselves and impart that understanding to others. When portraying societal issues through the lens of children, you must be thoughtful and deliberate to communicate the idea effectively. Despite having worked on three films, a project like Vaazhai fills me with pride and reassures me of my capability as a filmmaker.”
Addressing the comradery on the sets of Vaazhai, Mari notes, “Today’s children are incredibly perceptive. The guidance offered to them mirrored what I usually give to other actors, albeit the tone and storytelling methods differed. Observing their responses occasionally makes me forget my role as a director and instead makes me feel like an elderly family member sharing a bedtime tale.”
Reflecting on his body of work, Mari elucidates, “My films might be viewed as a series, with Vaazhai marking the initial chapter. All these stories spring from the same soil, hence an inherent connection. If the child in Vaazhai battles for education, that’s the essence of Karnan. Should he attend law school, the tale morphs into Pariyerum Perumal.
. With that political acumen, he evolves into Maamannan. It’s fascinating to explore how an ordinary individual confronts various challenges over time.”
Mari emphasizes the societal significance of storytelling. “Our society thrives on stories. Were it not for these narratives, religious concepts might have long vanished. The legacy of our ancestors, dynasties, rulers, and deities remains intact because of the songs, stories, and epics documented by someone. I aim to ensure the audience’s time is well-spent by sparking discussions. Even if viewers disagree with me, I hope they introspect and debate internally. I don’t assert that my perspective is the ultimate truth; my goal is to present a viewpoint for the audience to judge. Thus, a person with a story is inseparable from the story itself.”
Mari continues, “In telling stories of everyday people, it’s crucial to showcase their entirety—their loves, longings, and lives. By representing their lives, the audience can better grasp the magnitude of the injustices they endure. Ideally, the film should not only entertain but also evoke a reflection of the society outside the theatre.
Although I have yet to depict stories from a woman’s perspective, I often represent my interactions with them. Portraying a sister character, I haven’t yet delved into her narrative arc. My own sister is ten years senior to me and has different life experiences shaped by society’s gender biases. When I eventually narrate their stories, their unique perspective will undoubtedly emerge.”
Mari concludes, “Choosing a story often depends on what message we wish to convey and the anticipated audience discussions. The character analysis suggested by my assistants frequently catalyzes the storyline. The screenplay is critical in transforming these emotions into the film we view. Whether the goal is a commercial success or fostering discussion, the director influences the film’s composition.”
His next venture, ‘Bison,’ promises a new inquiry, utilizing a sports backdrop to amplify its ambition. “Though I’ve explored politics, village life, and the blending of generations in college, my forthcoming project will revolve around hardworking individuals and sports,” Mari reveals. His stories draw from deep personal experiences, imparting a sense of immediacy and authenticity.
‘Vaazhai’ is set to captivate audiences in theaters starting August 23, resonating with both Tamil and Indian cinema enthusiasts.
