Madhu Neelakandan: The challenge for cinematographers is to understand the director’s vision

The morning mist plays hide and seek in the canopy as the sun’s rays gently illuminate the trees before falling to the ground in glowing stripes. Madhu Neelakandan’s camera turns the mood of the scene into a hopeful one with suspense, suspense and horror from Avant Garde director Lijo Jose Pellisserie Churuli.

Although in the news for liberal use of abusive words, churuli (Spiral), as the title suggests, teases the audience with its subject, narrative and protagonist. Along with the tone of the film, each frame enhances the mood of the scene with the change in lighting. Madhu says that with the latest advancements in technology, it is not difficult to create the kind of mood the director wants or shoot in low light. “Digital technology and VFX have changed the way we shoot films. Now, the challenge is to understand the director’s vision and work in that direction,” says Madhu.

Be it the close-ups of Antony and Shajeevan played by Chemban Jose Vinod and Vinay Fort, or the poetic shots of the lush green forest, Madhu’s frames harmonize with the mood of the narrative. Award-winning cinematographer Madhu insists that when a director has a clear vision of his narrative and story, the job becomes easier for the lensman.

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Speaking from the location of the upcoming movie Oru Thekkan Thallu Case, Madhu talks about Lijo’s artistry. “Lizzo is a sensitive artist. Her spontaneity and artistry ensure that every work stands out from the crowd of films. Without making any loud claims about surrealism, Lizzo infuses her films with a magical realism that appeals to the audience, especially conquers audiences younger than in their twenties.”

playing frame’s momentary poem churuli, says Madhu that cinema is a director’s medium and so even though each member of the team has their own interpretation of every scene, it is the director who harmonizes the ideas and calls the shots. “That is when a film becomes a good deed. In all my projects, I want harmony to prevail.”

if churuli It was all about the uneasy relationship with the outside and man’s untamed nature, sunnyHelmed by Ranjit Shankar, was an introspective act that was mostly shot indoors. The motion of Madhu’s camera is the same as in the film. As the film’s main character Sunny experiences ennui and loneliness, scenes portray her sense of imprisonment as it leisurely moves around the room where Sunny has to quarantine for two weeks. “I work best when I have an understanding with the director,” he explains.

A picture of Ranjit Shankar’s ‘Sunny’ starring Jayasuriya | photo Credit: special arrangement

An assignment he is currently working on is Oru Thekkan Thallu CaseScreen adaptation of GR Indugopan’s short story Amminipilla Vettu Case, starring Biju Menon, Padmapriya, Nimisha Sajayan and Roshan Mathew. The popular story is set in Kollam, but the team is now shooting in Kodungallur as the original location has undergone a lot of changes.

Madhu is also part of the Collective Phase, a group of filmmakers and artists that encourages indie filmmakers. Madhu says he hasn’t stepped into the role of a director as he wants to stay in his comfort zone for some more time. “I am aware of the responsibilities of a director. It requires tremendous people skills, and I’m just not ready for that at the moment. However, I do hope to have it at some point soon.”