You must have attitude to succeed

“My life, my body, my heart are all beating in rhythm,” says Peter Johnson (GV Prakash) in Rajiv Menon’s film Sarvam Thaala Mayam, which sums up the story of the musical drama.  The first person whom Rajiv brought on board for the musical story was none other than Oscar winner AR Rahman with whom he shares a close bond. The renowned cinematographer turned director, who returns to filmmaking after a gap of 18 years with Sarvam Thaala Mayam says that his flick, inspired by a real life personality is about hope, social mobility and merit and not so much about caste divide as such. 

‘STM is the story of an ordinary boy and how he wants come into the world of music and his struggles in the process of his journey’. While GV Prakash and Aparna Balamurali play the lead pair, ace Nedumudi Venu essays the crucial character of Vembu Iyer. Actor Vineeth is back in Tamil after a gap. 

Rajiv Menon speaks to DC about his most anticipated film STM, which is hitting cinema halls on December 28.

Inspiration for the story
I did a documentary on Mirudhanga Vidwan Umayalpuram Sivaraman sir. He is an interesting character and I was shooting his life. Once during a performance at Thanjavur, he was accompanied by thala vaadhyam ensemble. Along with them, I noticed a person called Johnson who seemed to be Sivaraman sir’s right hand. Every other minute sir was calling Johnson for something or the other. He was also sitting on the stage. 

I was wondering what the connection was between him and Umayalpuram Sivaraman. Later, I came to know that he was the one who makes Mirudhangam for percussionists. I found out many more such families who have been traditionally making Mirudhangams.  

One day I went to Johnson’s small shop in Mylapore where he creates the instrument. He explained me about what all he mixes to make them from picking up correct wood to skin to powdered iron etc.  The irony was that though he makes Mirudhangams, he does not play them. But he said he has sent his son to Umayalpuram to learn. A family, which makes mirudhangam traditionally, waits for a day when they can play the instrument. That was my inspiration for the film.

Talent Alone Matters: We spoke to several folk musicians and did jamming secessions with them. We allowed them to sing first. Today’s India is throwing up a lot of opportunities. You should not say ‘I can’t do it’. Not to blame location and society. From where you come does not matter. Talent alone matters, which will pave way for success! People around you might mock at you if you try something new. Dhoni, who was a ticket collector in railways, became the captain of the Indian cricket team. Similarly, Ilayaraja is another example who came from nowhere and he is somebody today.

Why GV Prakash Kumar for the lead protagonist of Peter Johnson: Because, there’s a musician in him. He has the kind of vulnerability that I expected - through his eye expressions. He has to show the problems he faces through his eyes. And it is easier for me to bring out the real character from a person who has knowledge of music. After all, being a composer he would have seen lots of films without music. That’s yet another added advantage. And Prakash was willing to learn also.

I took him to ace percussionist Umayalpuram Sivaraman and he had his training with him for a year. Among all creative fields ‘music’ is the most abstract thing.

Guru will always look into a good sishyan. Vice versa, sishyan always look for a good guru.

Since the film is on guru-sishyan relationship, the moment we entered Umayalpuram Sivaraman sir’s house, I told GVP ‘go, saashtaangama avar Kaalla vizhu (fall at his feet in prostrate position and take his blessings).’

ARR’s ‘what?’ scared me: Rajiv
ARR’s reaction choosing GVP: Rahman is a different kind of a man. More liberalised. He asked me only two questions - will Prakash suit the character you have conceived? Will you be able to extract the best from him?

Heroine’s role: As the proverb goes, ‘there is a woman behind every successful man’, here the lead girl Aparna Balamurali’s character is the one who challenges him at every stage and inspires him. She is the solid rock behind him.

Dealing with caste coming in way of learning Carnatic music: It is not so much about caste as much as attitude. Unless you have an attitude, you cannot succeed.

The Bala connection: I have a peculiar relationship with filmmaker Bala. Whenever Minsara Kanavu is aired on television, I will receive a bouquet from him. He says he was so happy watching the film. And I screened STM to Bala since Prakash has acted in his films too. He loved the movie as he could connect with guru-sishyan story and he recalled his guru Bala Mahendra. He told GVP that his goodwill and good deeds have fetched him this film.
Anil Kumble loved STM: He is my close friend. He was also lavished praise on the film after watching it.
 The Longest two minutes:  A particular tune was lingering on my mind from morning to night.  I like the song VarugaIamo from the film Nandanar. But, I wanted it a bit in modern version and wrote the first line ‘Varalama Un Arugil’. Later, I called Madan Karki and asked him to write the lyrics. But, I was hesitant to speak to AR Rahman. Somehow, I gathered courage and went and told him ‘I have a tune’. He asked, ‘what?’ I thought I am finished and our 30-year relationship is going to be over. Much to my surprise he said ‘please sing and show’. I was so excited that suddenly I forgot the lyrics and tune. Those 2 minutes were the longest minutes in my life (shrugs). He liked it and made some corrections and that’s how I turned a composer.
We shot in places like Meghalaya, Manipur, Assam, Mizoram, Kashmir, Rajasthan and finally in Kerala for the title track Sarvam Thaala Mayam for 12 days portraying their folk culture.

BOX ITEMS
GV Prakash: It was an enriching experience working with Rajiv sir. He would act out all the characters with proper expressions.  That made everybody’s job easy. He wanted naivety to show on my face. I had also had my share of rejections earlier. When I wanted to learn western classic, my master refused four times (laughs). So, I could connect well with my character Peter. Moreover, the film is completely shot in ‘Live Sound’ technique, which was also a biggest challenge.
Vineeth: It was like a dream come true for me to work with Rajiv Menon sir and in ARR’s music. Mine is a very challenging and powerful role. 

Talent Alone Matters: 
We spoke to several folk musicians and did jamming secessions with them. We allowed them to sing first. Today’s India is throwing up a lot of opportunities. You should not say ‘I can’t do it’. Not to blame location and society. From where you come does not matter. Talent alone matters, which will pave way for success! People around you might mock at you if you try something new. Dhoni, who was a ticket collector in railways, became the captain of the Indian cricket team. Similarly, Ilayaraja is another example who came from nowhere and he is somebody today.

Why GV Prakash Kumar for the lead protagonist of Peter Johnson: 
Because, there’s a musician in him. He has the kind of vulnerability that I expected through his eye expressions. He has to show the problems he faces through his eyes. And it is easier for me to bring out the real character from a person who has knowledge of music. After all, being a composer he would have seen lots of films without music. That’s yet another added advantage. And Prakash was willing to learn also.

I took him to ace percussionist Umayalpuram Sivaraman and he had his training with him for a year. Among all creative fields ‘music’ is the most abstract thing.

Guru will always look into a good sishyan. Vice versa, sishyan always look for a good guru.

Since the film is on guru-sishyan relationship, the moment we entered Umayalpuram Sivaraman sir’s house, I told GVP ‘go, saashtaangama avar Kaalla vizhu (fall at his feet in prostrate position and take his blessings).’

ARR’s reaction choosing GVP: 
Rahman is a different kind of a man. More liberalised. He asked me only two questions — will Prakash suit the character you have conceived? Will you be able to extract the best from him?

Heroine’s role: 
As the proverb goes, ‘there is a woman behind every successful man’, here the lead girl Aparna Balamurali’s character is the one who challenges him at every stage and inspires him. She is the solid rock behind him.

Dealing with caste coming in way of learning Carnatic music: 
It is not so much about caste as much as attitude. Unless you have an attitude, you cannot succeed.

The Bala connection: 
I have a peculiar relationship with filmmaker Bala. Whenever Minsara Kanavu is aired on television, I will receive a bouquet from him. He says he was so happy watching the film. And I screened STM to Bala since Prakash has acted in his films too. He loved the movie as he could connect with guru-sishyan story and he recalled his guru Bala Mahendra. 
He told GVP that his goodwill and good 
deeds have fetched him this film.

Anil Kumble loved STM:
 He is my close friend. He was also lavished praise on the film after watching it.

The Longest two minutes:  
A particular tune was lingering on my mind from morning to night.  I like the song VarugaIamo from the film Nandanar. But, I wanted it a bit in modern version and wrote the first line ‘Varalama Un Arugil’. Later, I called Madan Karki and asked him to write the lyrics. But, I was hesitant to speak to AR Rahman. Somehow, I gathered courage and went and told him ‘I have a tune’. He asked, ‘what?’ I thought I am finished and our 30-year relationship is going to be over. Much to my surprise he said ‘please sing and show’. I was so excited that suddenly I forgot the lyrics and tune. Those 2 minutes were the longest minutes in my life (shrugs). He liked it and made some corrections and that’s how I turned a composer.

We shot in places like Meghalaya, Manipur, Assam, Mizoram, Kashmir, Rajasthan and finally in Kerala for the title track Sarvam Thaala Mayam for 12 days portraying their folk culture.