PONVANNAN

Life allows no rehearsal. It’s just a straight ‘Take'.

“We are very different from each other. I’m a complete pessimist and he a diehard optimist. I get easily provoked while he’s always cool,” laughs Charanya looking relaxed and radiant in a muted green and brown sari. “But we are a contented couple,” adds husband Ponvannan as they speak about the success behind their 14-year-old marriage, home and career.

Today both Ponvannan and Charanya have established themselves as capable character actors. She’s busy doing Telugu films too.

If Charanya’s portrayals in films such as Raam, Em Magan and Thavamai Thavamirundhu proved her calibre as a character actor, Karuththamma,Pasumpon and Paruththi Veeran showcased Ponvannan’s dynamism.

“When I accept a role, I give a lot of thought to my make-up and body language and as I’m a director too, I see the scene in its entirety,” he says. Be it the cunning politician in the recent Muththirai, the upright police officer in Anjaadhae or the shrewd Customs official in Ayan, Ponvannan’s performance always makes an impact. But as a director, he is still to get his due — Jameela, his second film, which was selected for the Shanghai Film Fest, won him accolades here and abroad.

“As I told you, equanimity is my asset. I don’t worry unduly about things that don’t happen my way. But I keep myself abreast of the latest in filmmaking. And I’m a keen observer. It isn’t as though cinema is the only medium of expression for a creator. Who knows, I could write books or take up public speaking. I’ll make it as director one day and even if I don’t, I know I have it in me,” he says. “Didn’t I tell you? He sees only positives,” smiles Charanya.

Back to the past

Cinema was never on Ponvannan’s agenda, when he came down to Chennai. “As an avid painter my only dream was to become a drawing master in a school in my hometown, Erode. Of course, writing has always been a passion and we had a literary circle which met regularly.” It was in this regard that he met writer and journalist Valampuri John, which led to a stint with Kovai Thambi’s Motherland Pictures and later on with Bharatiraaja as assistant director. Simultaneously roles kept happening.

Charanya’s career began on a very high note, with Mani Ratnam’s Nayakan. “I had just joined the undergraduate course in Nutrition at WCC, when a photographer followed me up to my home one day, for a picture to be used on the cover of Kungumam. It was a women’s magazine then. My father wasn’t for it. ‘She commutes by bus every day. She may face problems,’ he said. But the photographer convinced him,” recalls Charanya. The cover caught the eye of Mukta Srinivasan, and soon she found herself catapulted to the status of Kamal Haasan’s heroine!

Surprisingly her graph seemed to slide downwards despite solid roles in films such as Manasukkul Maththaappu and En Jeevan Paadudhu. “That was because it was an era of rustic films, when every film had the heroine having a bath with her skirt tied around her chest. I’d vetoed all those offers and hence the choices were limited. Yet I have no regrets. I’m modern in outlook, but as a heroine I could never do certain things,” she says.

Priorities changed and marriage and children made her opt for home. K. Balachander brought her back to television with “Veetukku Veedu Looty”. “Till then I didn’t know I could do comedy. But director Chanakya talked me into it.” Her big screen re-entry began with Vael, in which she played Surya’s mother and there’s been no looking back since. “I’ve never had qualms playing mother. And I’m not unduly bothered about how I look on screen. I have to suit the part, that’s it. Anyway I don’t accept insipid roles.”

Are character actors treated well at the workplace? “Let him answer it first. We never see eye to eye on the issue,” she laughs.

Ponvannan’s contention puts things in perspective. “Time is money and work is the priority. Personal problems don’t have a place here. This is the only profession where seniority isn’t seen as a qualification and treated with the deference extended to say an experienced doctor or lawyer. You have to be practical.”

But films wax eloquent on values … “Is it their mistake if you think that those who espouse lofty ideals don’t follow them? Cinema is a dream factory where lies are sold,” is his calm reply.

Appeasing Charanya isn’t easy. “You know about the caravan culture. Nobody is faulting it. During outdoor shoots while a heroine is able to change her costume and use the washroom in the total privacy of her caravan, dancers have to dress up behind bushes. And what are her pluses? That she’s from Mumbai, she’s young and most important, she doesn’t know a word of Tamil!”

At a recent function where Charanya was invited to receive an award, her request for two passes for her daughters, was turned down. “But when I go over there I see an actor who wasn’t receiving an award enter with a huge coterie and the same organiser providing seats for all of them. When we talk about the industry which has made us popular, I’ve also got to be vociferous on such issues,” she says, as Ponvannan shrugs his shoulders with a smile.

He sums up his stand when he says, “Life allows no rehearsal. It’s just a straight ‘Take.’ Similarly once a shot is canned it can’t be changed. So without getting worked up about things, it’s much simpler to concentrate on your job and keep giving your best.”

( INTERVIEW WITH MALATHY RANGARAJAN FOR HINDU ON JULY 24, 2009)