Balu Mahendra

Early life

Mahendra was born on 20 May 1939 into a Sri Lankan Tamil Christian family in the village of Amirthakali near Batticaloa, British Ceylon (Sri Lanka). His father was a professor. Mahendra did his schooling at Methodist Central College and St. Michael's College National School. As a teenager, he was drawn towards films by his class teacher. It was during this time he happened to see Bicycle Thieves (1948) and Battleship Potemkin (1925). Inspired by Lean's personality, Mahendra determined to become a film-maker.

Right from his childhood, Mahendra was interested in fine arts and literature. Upon completion of school, he joined the London University and graduated with a bachelor's degree (honours) in science. After his graduation, he worked as an Aerial Photographer in the Sri Lankan Government for a brief period during which he edited a Tamil literary magazine titled Thyen Aruvi. In Colombo, he worked as an amateur drama artist with Radio Ceylon and got acquainted with the Sinhala theatre groups.

Mahendra's passion for cinema prompted him to leave for India and join the Film and Television Institute of India, Pune in 1966. At the institute he was exposed to world cinema as he got an opportunity to watch films made by François Truffaut and Jean-Luc Godard, both associated with the French New Wave movement. In 1969, Mahendra graduated from the institute with a gold medal.

Film career

Debut as cinematographer

As a fresh graduate from the FTII, Mahendra's early attempts to enter Sri Lankan Tamil cinema were unsuccessful. Ramu Kariat, the director of Nellu, was impressed by A View from the Fort, Mahendra's diploma film at the FTII. He continued to work in Malayalam films such as Sasthram Jayichu Manushyan Thottu (1973), Kaliyugam (1973) and Chattakari (1974).

Nellu, shot in colour, won the Kerala State Film Award for Best Cinematography after it was released in 1974. In addition to a Best Screenplay award from the Karnataka government, Mahendra won his first National Film Award for Best Cinematography for the film. The film was both critically acclaimed and commercially successful. It was equally successful in the neighbouring state of Tamil Nadu and has the distinction of being the only Kannada film to complete 150 days in Madras (now Chennai) as of 2014.

Entry into Tamil films

Despite being a Tamil, it was not until 1978 he worked in a Tamil film when he signed up as the cinematographer for Mahendran's directorial debut Mullum Malarum (1978). Apart from handling the cinematography, Mahendra involved himself in other aspects such as screenwriting, casting, editing and direction in the film. After completing Mullum Malarum, Mahendra decided to work on his second directorial venture, this time in Tamil. He named the film Azhiyadha Kolangal (1979), which according to him was "partly autobiographical". Inspired from the 1971 American film Summer of '42, Azhiyadha Kolangal was a coming-of-age film that dealt with the story of three adolescent boys who are in the awakening of sexuality. Although it was controversial for its theme, it was a box-office success. During this time he did the cinematography of K. Vishwanath's Telugu film Sankarabharanam (1979) which turned out to be a major critical and commercial success.

Mahendra's third film as director Moodu Pani (1980) was loosely based on Alfred Hitchcock's 1960 film Psycho. Moodu Pani saw Mahendra collaborating with Ilaiyaraaja for the first time; Ilaiyaraaja was Mahendra's regular composer since then. The same year he made Olangal (1982) which marked his directorial debut in Malayalam. At the end of the year, Mahendra won two Filmfare trophies for directing Olangal and Moondram Pirai.

In 1983, Mahendra entered Hindi cinema with Sadma, a remake of Moondram Pirai, with Kamal Hasan and Sridevi reprising their roles. Mahendra received a Filmfare nomination for Best Story and became a well-known director with the Hindi audience with the film. The same year, he worked as the cinematographer of the Kannada film Pallavi Anu Pallavi, Mani Ratnam's debut film. During this time, he made his second film in Malayalam titled Oomakkuyil. Unlike Olangal, Oomakkuyil failed to create an impact among the audience.

Mainstream cinema and tryst with art film genre

During the mid 1980s, Mahendra concentrated on mainstream films. The following year, he collaborated with Rajinikanth to make Un Kannil Neer Vazhindal which turned out to be a commercial failure. He then worked on the Malayalam film Yathra (1985) with Mammooty in the lead role as a forest officer. The film was an adaptation of the 1977 Japanese classic The Yellow Handkerchief. Made with "artistic values" the film earned and ran for more than 200days in theatres and went on to become the highest-grossing Malayalam film of that year. By this time, he declined an offer to direct the Kannada film Malaya Marutha (1986). The film would serve as a base for his future films Marupadiyum (1993) and Sathi Leelavathi (1995) which explored similar themes.

Towards the end of the decade, Mahendra made two low-budgeted films—Veedu (1988) and Sandhya Raagam (1989). While Veedu focused on the life of a lower middle-class urban woman and her struggle to build a house, Sandhya Raagam dealt with "old age".

In 1992, Mahendra made Vanna Vanna Pookkal which was produced by S. Dhanu. The film had a 100-day run and won the award for the "Best Regional Film" at the 39th National Film Awards. During this time M. Night Shyamalan, then a newcomer, approached Mahendra to be the cinematographer for his directorial debut Praying with Anger to which he refused. The next year, he remade Mahesh Bhatt's Arth in Tamil as Marupadiyum. Mahendra made the film as he felt it was close to his personal life. The film received negative reviews and failed at the box-office.

After Raman Abdullah, Mahendra took a break from films during which he made Kathai Neram, a television series based on different short stories, mostly by Sujatha. It was aired in Sun TV during the early 2000s.

Final years

Following a five-year sabbatical, he returned with Julie Ganapathi (2003). The film was based on the psychological thriller novel Misery by Stephen King. According to Mahendra, Julie Ganapathi was made on the lines of his previous films Moondram Pirai (1982) and Moodu Pani (1980). A review from Rediff.com stated, "Balu Mahendra has kept the flag of sensible cinema within the commercial format once again in his latest offering Julie Ganapathy" and rated the film as one of the best thrillers ever made. In spite of being a critical success, the film turned out to be a commercial failure. For his next film Adhu Oru Kana Kaalam (2005), he decided to cast Dhanush in the lead role. Initially he stated that the film to be an extension of his 1979 film Azhiyatha Kolangal. However, he ended up making a different film. The film was loosely based on his own Malayalam film Yathra released in 1985. When asked about the difference between the two films, he said "Yat[h]ra was the love story of two adults, this is the love story of two adolescents." Shobha Warrier of Rediff.com wrote that the film was "extremely disappointing".

In 2007, he started a film school named "Cinema Pattarai" in Chennai. The institute offers courses in disciplines such as cinematography, direction and acting. Malathi Rangarajan of The Hindu stated, "If Mahendra's aim was to make a film that can compete on a global level, Thalaimuraigal is a concrete step in that direction." Despite being critically acclaimed, the film was a commercial failure. At the 61st National Film Awards, it won the Nargis Dutt Award for Best Feature Film on National Integration.

Personal life

Mahendra was married three times. He was first married to Akhileshwari with whom he had a son. His relationship with actress Shoba ended in 1980 after she committed suicide following their marriage. Their relationship was explored by K. G. George (Mahendra's junior at the FTII) in his 1983 Malayalam film Lekhayude Maranam Oru Flashback. When the film was released, Mahendra said that the film had nothing to do with him and has not discussed about it with George. In 1998, he married another actress Mounika and declared their marriage publicly in 2004.

Following a heart attack on 13 February 2014, Mahendra was admitted to Vijaya Hospital in Chennai where he was declared dead after six hours of cardiac arrest. Shortly after the news of his death, members of the Indian film industry posted their condolences in Twitter and Facebook. The Tamil film fraternity mourned the death and paid homage to him at his "film school" in Saligramam, Chennai,

Style and legacy

As a photographer, Mahendra was inspired by the works of Néstor Almendros and Michael Chapman. Among his contemporaries, he admired the works of Ashok Kumar. Mahendra believed a "well-photographed movie is that which is very close to the script". A majority of his films centre on the complexity of human relationships and are known to portray women as strong characters. Although influenced by realism, his films Moodu Pani, Rettai Vaal Kuruvi and Julie Ganapathi heavily borrowed from American cinema.

Mahendra was equally praised for his cinematography and directorial finesse. he was among the first to pioneer innovative colour in South India. Subrata Mitra, Satyajit Ray's cinematographer, presented a viewfinder to Mahendra acknowledging his talent. Lauded for usage of "natural lighting", Mahendra was considered "one of the few filmmakers in Tamil who believes in telling a story visually". Kamal Haasan described that he was one of the few directors who balanced between art and popular cinema. As a film-maker, he inspired contemporary actors and film-makers such as Mani Ratnam, Kamal Haasan and Sripriya, He has mentored next generation film-makers including Bala, Ameer, Vetrimaaran, Ram and Seenu Ramasamy. Ravi K. Chandran, Natty Subramaniam and K. V. Anand have taken inspirations from him. The negatives of his acclaimed films—Moodu Pani, Veedu, Sandhya Raagam, Marupadiyum and Sathi Leelavathi—are lost.

Collaboration With Ilaiyaraja

Balu Mahendra totally directed 23 films, in 5 languages. Except the 1st two films, he collaborated with Ilaiyaraja consecutively, for 21 films. He intended to collaborate with Raja in the 6 films, that he had already conceived, before icy death snatched him away. While other directors never used Ilaiyaraja for their Hindi remakes, Balu Mahendra was steadfast in persisting with Ilaiyaraja, in all the languages. Their equation was symbiotic & synergetic, with Ilaiyaraja, unfailingly churning out enviable chart busters, for Balu Mahendra. An exceptional highlight of their creative bonding being, the eternal superhit Thumbi Vaa ..... from Olangal-1982, was used by them 5 times, in 4 languages [Mal-1, Tamizh-2, Tel-1 & Hin-1, apart from in Paa by R. Balki & a Vocal-Orchestra Symphony version, in Raja's Concert in Italy–2004, titled as Mood Kaapi.

Awards and nominations

Filmography

As film director, cinematographer and editor

Television

• Kathai Neram (2000)

Tribute

• Since 2015, the Norway Tamil Film Festival has presented an award in Balu Mahendra's name to recognize excellence in filmmaking.

• In 2018, writer Ajayan Bala established a library in Chennai named the BaluMahendra Library, dedicated to film literature and visual media.

• Since 2020, a library in Kilinochchi, Sri Lanka, has been named the Balu Mahendra Library as an initiative by young filmmakers and cinephiles, focusing on promoting film culture and education.

Notes

References

Bibliography

References

1. "Our Judges 2015".
2. (17 February 2014). "Balu Mahendra was also a literary figure". [[Ceylon Today]].
3. (2020). "Al̲iyāta kōlaṅkaḷ: caka tiraikkalaiñarkaḷin̲, naṇparkaḷin̲ nin̲aivil... Pālumakēntirā". Vamci.
4. Rangan, Baradwaj. (14 February 2014). "Naturalism was his signature". The Hindu.
5. (13 February 2014). "Tamil cinema's auteur Balu Mahendra dead". [[Business Standard]].
6. Prasad, Shiva. (20 May 2013). "Balu Mahendra turns a year older!". [[The Times of India]].
7. Raghu, Sunita. (17 September 2013). "I genuinely feel I can act: Balu Mahendra". [[The New Indian Express]].
8. K.S, Sivakumaran. (21 March 2012). "Arts from far – Indian Tamil Cinema: Balu Mahendra". Daily News.
9. Mahendra, Balu. (7 September 2012). "சினிமாவும் நானும்....". filmmakerbalumahendra.blogspot.in.
10. N Venkateswaran. (14 February 2014). "Balu Mahendra, who made his visuals speak, dies at 74". The Times of India.
11. (14 February 2014). "Balu Mahendra: True to the spirit of '60s,'70s, his stories were simple and visuals evocative". [[The Indian Express]].
12. S.R. Ashok Kumar. (18 October 2013). "Cinematography has changed, so also the way films are made". [[Frontline (magazine).
13. "அழியாத கோலங்கள் - பாலுமகேந்திரா, Buy tamil book Azhiyatha Kolangal online, Balumahindra Books, கட்டுரைகள்".
14. Viswanath, Chandrakanth. (14 February 2014). "Balu Mahendra – a Deft Director Who Wielded Candid Camera". [[The New Indian Express]].
15. (13 February 2014). "The Best Films of Balu Mahendra". Rediff.
16. (14 February 2014). "Kokila was Balu's first as director". The Hindu.
17. (7 January 2002). "Balu Mahendra: The method, the madness". [[Rediff.com]].
18. Kolappan, B.. (13 February 2014). "Veteran filmmaker Balu Mahendra passes away". The Hindu.
19. Mahendra, Balu. (21 April 2013). "முள்ளும் மலரும் படத்தில் நான்". filmmakerbalumahendra.blogspot.in.
20. Warrier, Shobha. (18 August 2003). "Sex and teenage fantasies". Rediff.
21. Ajith Kumar, P.K.. (26 August 2010). "A life in cinema". The Hindu.
22. Babu Jayakumar, G. (14 February 2014). "Visual Epics to Relive the Master Storyteller". [[The New Indian Express]].
23. Kolappan, B.. (14 February 2014). "Balu Mahendra passes away". The Hindu.
24. Ajith Kumar, P.K.. (15 February 2014). "A fascinating journey in filmdom". The Hindu.
25. (14 February 2014). "Sadma Director Balu Mahendra Dead". [[Outlook (Indian magazine).
26. Ajith Kumar, P.K.. (27 August 2010). "A life in cinema". The Hindu.
27. G., Prasad. (18 August 2007). "Off the beaten track". [[The Hindu]].
28. A. Ganesh Nadar. (13 February 2014). "Balu Mahendra's death will leave a void in the Tamil film industry". Rediff.
29. Malini, Shankaran. (14 September 2011). "A good film is like a good feast". The New Indian Express.
30. (15 May 1988). "Eyecatchers". India Today.
31. "Veedu (1988)". Rediff.
32. (7 January 2002). "Balu Mahendra: The method, the madness". [[Rediff.com]].
33. Mannath, Malini. (1 January 1993). "Run-of-the-mill fare". The Indian Express.
34. (8 October 2007). "Thamizh MA will be a sensation". Rediff.com.
35. "Cardano news kurs-the best payaone".
36. (15 February 2014). "The Balu Mahendra I knew". The Hindu.
37. (23 April 2008). "A Chennai landmark shuts down". Rediff.com.
38. Warrier, Shobha. (4 March 2003). "Julie Ganapathy was a big risk". Rediff.
39. Rangarajan, Malathi. (21 February 2003). "Julie Ganapathy". [[The Hindu]].
40. "Julie Ganapathy". Rediff.
41. Warrier, Shobha. "Sex and teenage fantasies". Rediff.
42. (8 November 2005). "Athu Oru Kana Kaalam disappoints". Rediff.
43. Suganth, M. (27 December 2013). "Thalaimuraigal". The Times of India.
44. Saraswathi, S. (23 December 2013). "Review: Thalaimuraigal is brilliant". Rediff.
45. Rangarajan, Malathi. (21 December 2013). "Thalaimuraigal: For generations to come". [[The Hindu]].
46. (13 February 2014). "Sadma director Balu Mahendra dies at 74". [[The Hindustan Times]].
47. (16 April 2014). "61st National Film Awards Announced". [[Press Information Bureau]] (PIB), India.
48. Mathai, Kamini. (14 February 2014). "To Balu sir with love". The Times of India.
49. Joy, Prathibha. (13 February 2014). "Veteran director Balu Mahendra no more". [[The Times of India]].
50. (15 May 1983). "Imitation of Life". reprinted by bharatgopy.com.
51. (14 February 2014). "பாலு மகேந்திரா உடலுக்கு மெளனிகா அஞ்சலி". [[The Hindu (Tamil).
52. Shankar. (14 February 2014). "கணவர் பாலு மகேந்திரா உடலைப் பார்க்க மௌனிகாவுக்கு 'ஒருவழியாக' அனுமதி". [[Oneindia.in]].
53. (13 February 2014). "Veteran director Balu Mahendra dead!". The Times of India.
54. (13 February 2014). "Balu Mahendra: Indian filmmaker dead". BBC News.
55. (13 February 2014). "Celebrities mourn legendary Balu Mahendra's death". [[The Hindustan Times]].
56. Seshagiri, Sangeetha. (14 February 2014). "Balu Mahendra Cremated: Suriya, Vijay, Kamal and Other Film Personalities Paid Last Respects to Acclaimed Director".
57. "Visuals in Balu Mahendra's films speaks several emotions, says filmmaker K Vishwanath". [[IBNLive]].
58. Rajendran, Sowmya. "Balu Mahendra, master of complex relationships".
59. (28 January 2006). "Style meets substance". [[The Hindu]].
60. Haasan, Kamal. (14 February 2014). "Kamal Haasan's tribute to Balu Mahendra". [[The Hindu]].
61. Sampath, Janani. (15 January 2014). "Eighties Flavour Keen to Leave Imprint". [[The New Indian Express]].
62. "Cinematographer who said no to Kamal five times".
63. Cineswami. (13 February 2014). "The legacy of Balu Mahendra". India Webportal Private Limited.
64. (20 March 2011). "The chronicler of Kollywood". The Times of India.
65. Joseph Dias
66. Venkateswaran, N. (14 February 2014). "Balu Mahendra, who made his visuals speak, dies at 74". [[The Times of India]].
67. "State Film Awards 1969 – 2011". [[Department of Information and Public Relations (Kerala).
68. (14 February 2014). "Balu Mahendra Is No More". cinejosh.com.
69. "The Nominations – 1983". [[Indiatimes]].
70. [https://archive.org/download/BaluMahendraPreviousFilmfareAwards/balu%20mahendra%20previous%20filmfare%20awards.jpg Lifetime Achievement Prize. Balu Mahendra]
71. https://archive.org/details/filmfare-best-tamil-director
72. "Best Director".
73. (13 July 2014). "Veterans steal the show at 61st Idea Filmfare Awards". [[The Times of India]].
74. "Balu Mahendra: Camera". Malayalam Music Movie Encyclopedia.
75. "Artist Profile: Balu Mahendra". aptalkies.com.
76. "Urangatha Ninaivugal". Upperstall.com.
77. (15 August 2020). "Keeping it lit".
78. (4 March 2021). "Welcome to the Balu Mahendra Library, an initiative by young film buffs in Sri Lanka".