An artiste with a view | Prithviraj Sukumaran
Prithviraj Sukumaran is no revolutionary in the garb of a filmmaker, but the nature and influence of mainstream cinema is such that even a minor
Prithviraj Sukumaran is no revolutionary in the garb of a filmmaker, but the nature and influence of mainstream cinema is such that even a minor attempt at subversion can invite the full wrath of the ruling establishment and make one look so. The Malayali actor-director has been experiencing just that since the release of his third directorial L2:Empuraan, starring Mohanlal, which has a 15-minute sequence of what appears to be references to the Gujarat riots of 2002 as well as criticism of central investigative agencies. ‘I, Nobody’ movie review: An unconventional thriller that fumbles in the final act The right-wing backlash has been relentless. Organiser, the RSS mouthpiece, labelled him the “voice of the anti-nationals”, citing his past support for the ‘Save Lakshadweep’ campaign and the anti-Citizenship Amendment Act protests as evidence. His films, from Kuruthi to Jana Gana Mana and now, Empuraan, were accused of featuring narratives that “whitewash extremist ideologies”. Amid the controversies, the Income Tax (I-T) department served him a notice regarding his earnings from co-productions, close on the heels of an Enforcement Directorate raid on one of Empuraan‘s producers. Jana Gana Mana, which had a compelling narrative against extrajudicial killings, sparked uncomfortable discussions about how individuals who raise questions are branded and targeted.
Son of actors Sukumaran and Mallika, Prithviraj, who made his acting debut with Nandanam in 2002, was frequently in the news during the early days of his career for his outspoken views, which were often branded as arrogance. He had run-ins with Kerala’s film bodies, even facing a ban for associating with filmmaker Vinayan who was under a career ban. Over the years, he has outgrown that rebellious image, with a tinge of diplomacy and a streak of compromise visible in his demeanour now. This shift probably has got to do with the significant stature that he currently holds, with a lot of money riding on him. But this hasn’t stopped him from voicing his opinions occasionally. One of his commendable stances was witnessed in the week following the kidnapping and sexual assault of a woman actor in 2017, an incident that continues to have reverberations in Malayalam cinema. Prithviraj apologised for being part of films that celebrated misogyny and vowed never to essay roles that glorified or justified misogyny. This position was lauded by many, and initiated some change from within. He has mostly stuck to that vow.
Last year, after the Hema Committee report on issues faced by women in the industry was made public, Prithviraj said individuals facing harassment allegations should relinquish positions of power and criticised the way the Association of Malayalam Movie Artistes (AMMA) handled the issue. His otherwise progressive image took a hit in 2019 when he seemed to imply that women could visit Ayyappa temples other than Sabarimala, at the height of the protests for women’s entry into Sabarimala temple. Business of cinema From his early days, Prithviraj displayed his acumen for the business of cinema. Within a decade of his debut, he had established a production company and later ventured into the distribution business, earning profits from distributing big-budget Tamil, Telugu and Kannada films in Kerala. Yet, the acting career never took a backseat, with him displaying a willingness to work hard even now, in films like Aadujeevitham. He also won noteworthy roles in Tamil, Hindi and Telugu films within a few years. Known for his involvement in every aspect of cinema, including rumours of ghost-directing some films, it wasn’t surprising when he made his directorial debut with Lucifer (2019), a major box office success.
The BriefWire