Here's how Mari Selvaraj became one of Tamil cinema's sought-after directors

In Tamilnadu’s Tirunelveli there is a tiny village called Puliyankulam with a population obsessed with cinema. Be it weddings or festivals, cinema is always a constant for them. So much that they would even print the name of a new film release on wedding cards.

And just like everyone else, Mari Selvaraj too loved cinema. However, little did anyone know that the same man would become one of the most sought-after filmmakers in Tamil Nadu. His debut work 'Pariyerum Perumalum’ was a hit and so was ‘Karnan’. Today, big stars look forward to work with him. As he gears up for the release of his upcoming film 'Maamannam', Manorama News takes a look at his life and journey till date.

 

When Udhayanidhi called Mari

The call from Udhayanidhi Stalin came soon after ‘Pariyerum Perumalum’. When he told Mari that he wanted to be part of his film, Mari said he had already committed ‘Karnan’ with Dhanush. But Udhayanidhi was persistent. He said he wanted to make his last film with Mari before he plunged into full-time politics.

Mari agree but he had a condition—he will make the film only if Udhayanidhi liked Mari’s story. Udhayanidhi not only liked Mari’s story but he also agreed to produce it. ‘Maamannam’ revolves around three characters, one which would be essayed by Udhayanidhi. The director then suggested Vadivelu for the title role. When they reached out to Vadivelu, he quickly agreed as he had seen Mari’s previous works. Besides this was something he has never attempted before.

Mari was also confident about casting Fahadh Faasil in mind. Vadivelu, who knew him as Fasil’s son as well as a brilliant actor approved that choice.

When Mari called Fahadh, the actor somehow gave the impression that he was actually waiting for that call. Without even listening to the story, he agreed to be part of the project. That’s how his third project started—'Maamannan'.

The film’s trailer and songs are already a hit on social media. The politics in Mari’s films have always been widely discussed and analyzed. With such a stellar star cast and Mari’s politics, 'Maamannan' will be a film to watch out for.

 

How 'Maamannan' became a reality

In ‘Pariyerum Perumalum’, there is a scene in which a student tells his professor that he wants to be a doctor. When the professor reminds him that this is a law college, the student says he wants to be Dr B R Ambedkar. This student and his politics, in essence, is who Mari Selvaraj is. Filmmakers like Mari Selvaraj, Pa Ranjith and Vetrimaaran talk about the politics of oppression, and race and about a community who have always been looked down upon in Tamil cinema. Their films strive to give them a voice through their stories. They are adapting their own struggles and humiliations on paper and screen.

Mari Selvaraj always talks about humans who are persecuted on the basis of their colour and caste. Even when he had no one to guide him to reach the world of films, Mari always dreamed big. He wanted those around him to notice him and bring some joy to their lives and he was ready to do anything to see them happy. But then books changed his life. When he became a filmmaker, he simply chose to keep it raw and realistic on screen. He made his village and villagers the characters and very often he was also a character in these films.

His villagers didn’t know filmmaking, but they watched films. They were so immersed in the storytelling that they would often start dancing when a song and dance number came on screen. Cinema was constantly playing in that village. It became an indispensable part of their life. Mari grew up in the midst of that cinema-loving village. He was a dancing star among his friends. Mari used to walk long distances to watch films. Cinema was a celebration for young Mari. But he never really tried to learn cinema more closely. He used to get scolded for bunking classes to watch films. They felt he needed to work for a living and obsessing over cinema won't help. Besides they thought cinema was beyond their reach.

The first film Mari saw in a theatre was Rajinikanth’s 'Padayappa'. That too when the film was re-released to celebrate its 100th-day run at the box office. He couldn’t afford theatre tickets. When Mari went to Chennai for his studies, it was a culture shock for him.

He also did odd jobs in between to make money. It was to find work that he reached Director Ram’s office. Ram appointed him as his office boy. But Mari wasn’t ready to talk about his passion for films or his dream to make films yet. But somehow Ram discovered the amazing storyteller in him when he would narrate stories about his village and villagers. Mari devoured all the books Ram gifted him. There wasn’t a single book on Ram’s shelf that Mari hadn’t read. Later Ram introduced him to the world cinema and Mari was hooked. It took him 12 long years to eventually attain his dream. Mari worked as an assistant director for 12 years and learned all the nitty-gritties of filmmaking.

Through books, he had clarity about the kind of films he should make. And then he met Pa Ranjith and narrated two stories to him. Since the second story required a bigger budget, Ranjith said they should go ahead with the first story. His debut ‘Pariyerum Perumalum’ was shot entirely in his village. And he did that second big-budget film called ‘Karnan’. He has a lot more stories about caste oppression in his arsenal. Considering the kind of reception he got for his first two movies, it will be interesting to see the response to his upcoming films.

Clearly, 'Maamannan' will talk about relevant politics. And you will know who it will impact only after it releases. There’s no doubt that Mari Selvaraj is a man to watch out for in Indian cinema.