Even if someone opposes my views passively, they should feel ashamed. Valimayaa valiyuruthren, valiyoda valiyuruthren. I want to keep voicing against caste loudly and clearly. It would be an injustice to ignore this truth while making a film. That’s why I had scenes of the casteist goons coming to Chennai in search of the couple. Even though we have come to the cities, caste is still haunting us. They even start guessing your caste from your name, the way you dress and the deity you worship. Caste is still prevalant among us and people are still curious to know the name of the caste you belong to, even if you refuse. In Jayamohan’s Pinthodarum Nizhalin Kural, a character says, “Yen jaadhi enna, avan jaadhi enna? Avanum naanum onna?” This shook me as a youngster, and I even thanked him for being one of the inspirations for the film. I feel this was inspired from Silapathigaaram, which has lines stating that the flags waved about alerting Kovalan and Kannagi not to enter Madurai. And during the intro shot of Bharath, he is shown starring at an auto which has the quote, “Kadalil moozhgiyavan muthu edupaan, Kaadhalil moozhgiyavan pichai edupaan.” Though it initially feels like a comic addition, this shot foreshadows his fate. In the scene where Aishwarya proposes to Murugan, he has a tiffin box in her hands, and when she begins to talk to him, it slowly starts sliding showing that he has fallen for her. The impact of Iranian films and Tamil literature helped me convery a lot of things sybolically to the audience, in the form of visual cues. But my climax was based on a real-life story I was keen that it should be relatable. If I had planned to give the audience a positive climax, I would have made the entire love track glittery with exaggeration. Even though we diplomatically term it as love, it is actually the entry point to lust and it makes young adults go to any extent. That love is real and the bond is stronger than we generally assume. Years may roll by and the uniforms worn by the teenagers may be different, but the infatuation they go through remains the same. When I wrote the love portions, I began envisioning Murugan from the point of view of Aishwarya. I was above forty when I shot Kaadhal, a film based on the love of a high school girl. It can make a creator transcend the boundaries of nature.
As they say, “Literature is a reflection of the society.”ĭespite being hearing impaired, Beethoven composed symphonies which were loved by people that’s the magic of art. Every film is a reflection of the director’s nature. I grew up in a society filled with people from various communities and I felt it is necessary for me to register the social differences I saw, through my films. I believe the circumstances, surroundings and friends collectively shape a creator. These events affected me, but I didn’t know back then that I would end up making a film based on that. The latter asked, “What would you do if I loved a guy from a different community?”, and without a second thought, the mother said, “Vetti konnuduven.” This exchange created a deep impact on me and as years rolled by, a lot of lovers like Vasuki and Murugesan faced honour killings by the goons of the dominant caste in each district of Tamil Nadu. Once when I was walking through the streets of my hometown, I overheard a conversation between a mother and her daughter.
The desire to make a film about lovers separated by casteism was established in me during my days as a youngster in Dindigul. The image of the lovers standing with the bike lingered in mind for more than an hour and it gave me the spark to come up with a new story. Within a few seconds, it hit my mind that they won’t end up with each other due to their societal and economic differences. While I was trying to pen that script, I noticed a schoolgirl and a mechanic talking to each other from the window of my room. Despite the mixed response of Samurai, my first film, Vikram was impressed by its making and asked me to come up with a new script for him.
Excluding the climax, the rest of the story is fictional.
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