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New Indian Express
29-04-2025
- Entertainment
- New Indian Express
Regret not working with chettan after 'Piravi': Cinematographer Sunny Joseph on Shaji N Karun
After completing my studies at the Pune Film Institute, I packed my bags and reached Kottayam via Madras to shoot a documentary by Aravindettan (G Aravindan). I arrived late after taking several buses. By then, Aravindettan had taken KG Jayan, who was assisting Shaji chettan, for Panchavadi Palam (directed by K G George). Since Jayan was away, Shaji chettan asked me to stay back and assist him on the sets of Panchavadi Palam. Though I had met Shaji chettan earlier, those four or five days on set helped us get to know each other. Later, I worked closely with him alongside K G Jayan in films like Meenamasathile Sooryan (Lenin Rajendran, 1986), and Chidambaram (Aravindan, 1985). Because of this association, I got my first independent assignment for Theertham (Mohan, 1987) — a project initially meant for Shaji chettan. He actually recommended me to Mohan. My second and third films, Eenam Maranna Kattu (Thomas J. Easaw, 1988) and Ore Thooval Pakshikal (Chintha Ravi, 1988), were also meant for him, but he handed them to me. Then came Piravi , his first film as a director — my fourth as an independent cinematographer. Piravi was a breakthrough in every sense. Sadly, Shaji chettan and I never worked together after that, though we stayed in touch. That will remain a regret. The last time we met, he told me.
The Hindu
28-04-2025
- Entertainment
- The Hindu
He taught us to go the extra distance in capturing a frame: Sunny Joseph on Shaji N.Karun
I still remember the moment when he asked me to handle the camera for his classic movie Piravi. 'Sunny, so you are doing the camera, right,' he told me with his characteristic ease in the midst of our discussions. When he told me about doing Piravi, I was hopeful that he may ask me to crank the camera as he will be concentrating more on direction. 'Then, let's start,' he said the moment I said yes. Before Piravi, I had done three films as cameraman including Theertham, Eenam Maranna Kattu, and Ore Thooval Pakshikal. I had also assisted him in movies including Chidambaram and Meenamasathile Sooryan for which he had handled the camera. I will never forget the first shot of Piravi. We had kept the camera inside a wayside teashop. Veteran actor Premji, who brilliantly portrayed the lead character, was seated on a wooden log outside. As the wooden planks of the tea shop are opened, we can see Premji's character outside. Rather than using artificial rainfall in the movie, we waited for the natural rainfall and that was something new to me. We had bought raincoats for the crew and took care to ensure that the camera did not get drenched in the downpour. There were no lights or reflectors as we used two thermocol sheets to reflect the natural light. Veteran cinematographers like him instilled the courage in the people who followed them to take a few risks and go the extra distance in capturing a frame. The lessons learnt from him in lighting and the experiments with camera width pushed people like me further in our creative journey. Piravi was a milestone for both of us. I started receiving invitations for movies from other languages after Piravi. Even today people praise me for my work in the movie. He was a man who was way ahead of his time. (Sunny Joseph, acclaimed cinematographer, who won the 1988 Kerala State Film Award for Best Photography for Piravi – as told to G. Krishnakumar)
