The Talented Mr Sharaf U Dheen

'I Have Been Able To Relate To All My Characters In Some Way'

Neelima Menon quizzes Sharaf U Dheen on his innings so far in Malayalam cinema.

MADHURA Manohara Moham is his 37th film. Last year he headlined three: 1744 White Alto, Priyan Ottathilanu and Anandam Paramanandam, in addition to playing a crucial role in the Mammootty-starrer Rorschach. And even if these films (with the exception of Rorschach) didn’t exactly set the box office ablaze, Sharaf U Dheen, the actor, was on point. Strangely, the paradox is one that’s followed the performer throughout his career. Even when a film doesn’t bring in the numbers, his performance is always noticed. No one understands this better than Sharaf U Dheen himself, the reason why he’d rather be part of “economically viable” films in the present.

When you converse with Sharaf U Dheen, the first thing that strikes you is how madly passionate he is about films. Second, he has perspective. And third, he is incredibly self-effacing. So much so that you have to remind him it’s okay to occasionally gloat over your successes. Excerpts from an interview with the actor:

Madhura Manohara Moham is your 37th film. Have your priorities changed over time?

Definitely. Now I do look at how it will fare economically, especially if I am leading the film. At the end of the day, we can only hope for a good film, pick whatever comes to you. Of course, I am choosy, but it cannot be a possibility all the time. Not every film that comes to me was written keeping me in mind. I have done character, villain, and romantic roles (though I don’t think the latter really worked). Sometimes we get a 1744 White Alto or a Rorschach or a Priyan Ottathilanu.

Do you see a pattern in the kind of roles that come to you?

I do check if such a pattern is there. But I don’t want to repeat even a successful pattern. Perhaps what makes me different is that I have always tried to do something different. Learning on the job you can say. When I stop enjoying the process, then I would think I have gotten into the repetitive zone. After Aarkkariyam I was approached for a certain type of ‘silent’ role in female-centric films. But I am trying to observe where they have placed me from Varathan to here, and I am really thrilled by that shift in the image too. If I get a different version of Aarkkariyam I will do it. I think that’s what I am doing in this six-part web series for Hotstar. Once my current commitments are finished, I hope to jump from this loop.

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'I Love The Process Of Filmmaking & Storytelling'

Having won praise for his deft helming of Aishwarya Rajesh-starrer Farhana, director Nelson Venkatesan chats with Subha J Rao about his cinematic influences and concerns.

FARHANA, Nelson Venkatesan’s third film (after realistic set of stories Oru Naal Koothu, and the human interest drama Monster that featured a rat), has been receiving appreciation for its portrayal of a young Muslim woman in Chennai and how she deals with what life throws at her after she joins a call centre (first, for a bank and later for a friendship chat line) to add to the family’s income.

The film stands apart because it does not judge any of its characters at any stage of their arc. Some swing between white and grey, and you understand, even empathise. In a deeply intolerant world, Nelson’s creation is an empathetic take on a family trying to rise above its circumstances. Much like his previous work, this film too is not intrusive — the camera lingers in the background as Farhana goes about her life. No one is forced to explain themselves, and Nelson also manages to write one of the more beautiful onscreen declarations of love between a couple that has never had a time for conversation. Edited excerpts from an interview:

Everyone is speaking about the sensitivity with which you wrote the film. Where does that come from?

By nature I am sensitive and emotional. And, secondly, I’ve grown up around people from the Muslim faith — all were my annas and akkas — and so I do not have any preconceived notions about them. I’ve been deeply appreciative of their love and affection and their humility.

I grew up in Royapettah, and things are fine in my world. So there was little reason to be insensitive. Yes, I possibly also wanted to take a stand on the prevailing Islamophobia. What happens to children if this continues, if they are constantly questioned on the basis of their religion? And so, when I was writing, I was extra careful to not allow any prejudice to step in. We had exhaustive discussions during the pre-production stage and I ran the script past people, including many women and my school friends, so that we can remove anything that is hurtful.

We had Muslims in the production team and I shared the script with my friends from the faith, so that nothing would ever hurt anyone’s sentiments. That said, there were doubts and some people raised objections, but once they saw what the film was about, they stepped back. And producer SR Prabu backed us, ensuring we got this kind of pull.

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