Wednesday, January 28, 2015

Ghoda 22 basic chaos

An Experiment called Ghoda 22

When I started working on Ghoda all the characters were clear in my head. These are characters from my feature film (in the making  - Mullu Murudu Moorkhan pambu). I wanted to experiment and play with the characters. But more important than that I wanted to hold conversations that will all lead to something. Some directors put conversations which don’t lead anywhere but they become so interesting that they stand out and fascinate audiences everywhere. However in ghoda everything had to lead somewhere. Two people in car will not talk about their favorite movie or how they scored the best stash in town. They will talk about things that will decide their fate.

The second and most important aspect of the film was that it should be silly. Not ridiculously silly but silly however. People buying a gun like they buy a sari or dupata. Bargaining firearms like it is fish. How the perpetual violent underworld is not as violent as the family life. How every man is an island but how every island makes a pattern. How silly to watch something which should still make sense but won’t linger once the film is over. How it should cinema and not cinema.

The third experiment was controlling pace of the film through performance rather than relying on an editor. This is the net result of reading “In the blink of an Eye” where performance alone is the key to storytelling and every visual and every audible detail only adds to these performances. It is not a dance where people keep thinking about how the filmmaker achieved this piece but rather they should be grooved in the essence of the scene. Another aspect that I wanted to push was that the scene will not end when the audience expects it to end. There will always be a 2 minute more of conversation and that too relevant conversation.

Ranjan Raj as chotu the driver

Ranjan Raj as chotu the driver

Rahul Rajagopal swimming accross Tsunami island malvan

Ram Menon improvising on the mood and emotion of his character

Script reading 

MOnika as Sandhya

Amol Pathare as Mudali

Ram Menon
Sushant Shetty

Monika Sharma and Ranjan Ran out of character

The wide shot suggestion by Rahul Rajagopal works kickass

The early morning crew Guru Charan, Girish and actor jamshed

There is a religious side to the film too which I would like to say a ‘balanced violence’. The gun is being fetched by muslim gun seller. (How sterotype of me). The gun seller sells it to his boss who is a tamilian hindu sri ram sena man. His assistant is a myopic moral policing hindu hoodloom. The lady who buys the gun is na a whereas the person who helps her buy it is a hindu who is referred to as a non-believer in one of the scenes. The other thought put in the movie is that no one should notice these religions and if they do I have failed.
My basic chaos in not believing in any philosophy but curios to everything happening around will reflect in all my work which eventually makes it lacking in a singularity of philosophy. I am yet to overcome this.



Wednesday, January 21, 2015


It has been quite a long time since a movie disturbed me and made make a sketch so that it will always be a part of me. Powerful and disturbingly honest and yet lacking something somewhere which I am still unable to figure out.

Thanks to Girish Atuvalaipil for the suggestion and thank god for CINEMA

Saturday, January 10, 2015


Finally after a year the travelogue and the images got published in reputed mathrobhhomi yathra magazine.

There are a lot more pics that belong to this page but somehow I am unable to find my hard disk full of images.

Nitin anand

Phidi Phulu