Remember the waves created by “Goli Soda” in 2014? This modest film with a heartfelt narrative about teenage boys fighting back when cornered established ace cinematographer Vijay Milton as a filmmaker not to be overlooked. Reflecting on the film, Milton likens himself to a 13-year-old boy pushed to fight back alongside the characters. “It was a daredevil feat, like something a child would recklessly attempt. I’m still unsure where the courage to embark on that project came from and how I completed it,” he reminisces.
The precision with which Milton translated the script to the screen and the boundless energy from actors and assistants remain vivid in his memories. “I didn’t provide even the basic amenities required for a film shoot then. I endured those hardships due to my dream, but my team didn’t owe me anything. They followed me blindly,” Milton shares.
Fast forward ten years, Milton no longer worries about such details. Working with stalwarts like Shivarajkumar and Daali Dhananjaya, his production values have soared. After a COVID-19-induced delay, Milton’s latest film “Mazhai Pidikkatha Manithan” is set to release this week under Infiniti Film Ventures’ banner, headlined by Vijay Antony.
The title “The Man Who Despises Rain” stirs curiosity immediately. Milton firmly believed in this enigmatic title, central to the character and the film. “Mazhai Pidikkatha Manithan draws inspiration from ‘The Equalizer,’ starring Denzel Washington, where the lead character’s mystery unfolds gradually. I attempted something similar,” Milton reveals.
Promotional materials for the film depict what Milton aimed for: a poetic action drama. For instance, one character compares a stranger’s comfort to the protection an invisible god provides in a temple. Another dialogue reflects on how understanding others gives life its purpose. A biblical poetry trace runs through these dialogues, which Milton attributes to his love for Russian literature. “My father instilled a reading habit in me at a young age. I stumbled upon translated Russian literature sold cheaply in Tamil. These translations had a somewhat biblical feel in the conversations,” Milton explains, noting he gave the film a similar flavor through creative licenses.
Understanding the Gen-Z audience’s aversion to anything overly emotional or poetic is something Milton is mindful of. “Here, I avoided advising anyone because that might be seen as ‘cringe.’ My aim is a mature conversation with the audience, keeping it concise,” he says. Through Mazhai Pidikkatha Manithan, Milton aspires to counter the normalization of bloodshed in contemporary media.
. “You won’t find gory fight scenes or excessive bloodshed. The anger behind the action is felt, but its depiction is carefully restrained,” Milton elucidates.
This film is also Milton’s first release after working with superstar Shivarajkumar in the 2022 Kannada film Bairagee. This experience made him introspect on how he needs to adapt his realistic style to fit a star’s larger-than-life image. “My style leans on realism. Even punch dialogues I prefer to pen naturally. But with stars, it should be grander. I realized my previous films didn’t quite strike this balance,” reflects Milton.
Milton commends how stars like Vijay, Vikram, and Shivarajkumar remain grounded despite their fame. “They humbly situate themselves near the camera instead of retreating to caravans. Working with them is as comfortable as working with young teenagers in Goli Soda,” says Milton.
Vijay Antony, the hero of Mazhai Pidikkatha Manithan, shares this humility. “He knows exactly who he is. If he thinks he’s an 8, he won’t agree to be called a 9 nor settle for a 7. It’s commendable in cinema where egos are often inflated,” Milton explains.
Despite a 20-year career, Milton feels unchanged as a filmmaker. For every new movie, he enlists five assistant cameramen and directors, asking them to list areas for his and the office’s improvement. “They always tell me I’m consistent,” he says. Milton’s control over every detail, from sets to costumes, is unrelenting due to his dual role as director and cinematographer. “I couldn’t offload this responsibility to another cameraman; it would feel like misuse,” he admits.
The demands of filmmaking leave Milton no time for other pursuits but he strives to stay updated with technological advancements in cinematography. “I can tell from a mere advert or Instagram reel what I don’t know and need to learn,” Milton candidly admits.
Regarding failure, Milton holds onto his debut directorial disappointment, “Azhagai Irukkirai Bayamai Irukkirathu.” “Pouring love into a film and not getting recognition is tragic,” he says. Yet as a cinematographer, the business side’s influence lessens, with new filmmakers valuing craftsmanship over box office numbers. “Craft matters more now,” concludes Milton.
