Director Jayaprakash Radhakrishnan Interview: I was told not to do Kaadhal Enbadhu Podhu Udamai because it’s against nature

For director Jayaprakash Radhakrishnan, who made the recently released Kaadhal Enbadhu Podhu Udamai (KEPU), a love story about two women as one of them come out to her parents, he was ready to receive any kind of response that came his way after the film released.

“90% of the film who watched it, accepted the film and I am surprised. At one of the press shows, one media person came up to me and asked if I was the one who did Thalaikoothal, and why I made a film like this (KEPU). Another person at a theatre, an elderly man spat on the floor and cursed the film, knowing I was there. There has been some news against the film, but majorly many have accepted, including those who watch mainstream films,” says Jayaprakash.

Kaadhal Enbadhu Podhu Udamai director Jayaprakash interview 

Why did you choose to make KEPU?

All my films are question-answer sessions I have with myself. I had an idea to make a music video and pitched this idea about a girl coming out as she dances, equating to a butterfly coming out of a cocoon. The idea was rejected, and since then I had this idea within me. When I had the chance to do a small-budget film that happens within a home, I chose this idea, given it can stir conversations. I was told not to do it, since it is against nature and will become a fashion statement. But I wanted to go ahead and tell the story.

Also read: Lijomol Jose Interview: I am prepared to face both types of responses for Kaadhal Enbadhu Podhu Udamai

I got a call from Jeo Baby who asked me if I had any scripts with a small budget. He liked by film Mosquito Philosophy and had gotten in touch with me later. I pitched the KEPU script during lockdown, and we decided to do the film after Thalaikoothal.

Why did you choose to have two women at the forefront?

Not much thinking went into why we should have two women. Perhaps, I had it within me ever since the music video could not be done. I also found out that if I had women in the forefront, I could deliver the idea more gracefully and beautifully. But honestly, there was no specific reason as to why we should have women. But nevertheless, it does not matter if is two men or women when it comes to love. All of them love the same way. After finishing the script and about a month before the shoot, I had a feedback session with Malini Jeevaratnam just to make sure I had not hurt the community with any dialogues.

Also read: Kaadhal Enbadhu Podhu Udamai Movie Review: Lijomol and Rohini steer a drama that is honestly real, empathetic but never preachy 

How important was it to have known faces like Lijomol, Rohini and other familiar actors for KEPU?

It was very important. In fact, this would have become a Kannada film, because they give grants to make small films. But later, I got an idea to make it a Tamil film but did not want to make it a festival film. It’s because everyone is aware of such topics within the festival circuit. The change has to happen within the mainstream space. When I pitched this script, many advised me not to make this film in Tamil. That’s when I wanted to do in Tamil and with a commercial cast. I was sure that it was made as a commercial film. To have Rohini, Lijomol and others are very important. Because even otherwise, it took me about two years to make this film and bring it to the audience. When everyone had been newcomers, a release would not have been possible.

KEPU has subtle conversations on classism, body rights, hypocrisy of so-called progressive people. They were subtle and nuanced. How was the process to crack the meter?

While writing, it was a very organic process. Writing for films, you need to have some dramatic elements and you cannot speak in cinema like you speak in real life. Cinema should be the essence of life, but not as it is. It needed a dramatic element, but we needed a philosophical element to go along with it. The whole story of KEPU and why they are opposing them is because the lead pair cannot create life. So, you need to have humans around them, who are able to reproduce. The mother aborts her second pregnancy but chides her ex-husband’s second wife for not being able to conceive, Mary, the servant’s daughter is also struggling with her abusive husband. The conflict is contrasting and it became the centre core of the film.

Writing is a very intuitive process. Everyone is a hero in their world, and the protagonist of our own stories. So, when I write about a certain character, I take their perspective. That is why when the father leaves the home, he reaffirms that he still loves his daughter. Everyone wants to appear good, and win his ego. Similarly, the mother too has to win an argument over her former husband when she says that a man cannot understand her problems. This is how fights progress at our home and we need to find to say something to win an argument.

Also read: Actor Rohini Molleti Interview: I wish Kaadhal Enbadhu Podhu Udamai gets outdated in future 

How do you see KEPU’s results?

Films should have an impact, and I want my audience to carry out certain feelings as they walk out of theatres. With KEPU, as a filmmaker, it has left me with a strong impression. A few people from the community who watched it hugged and cried. Another psychologist who watched the film said he would recommend watching this film to those who would come for counselling. I also saw a few people who had misconceptions before watching the film, rectified themselves. I see such small things as success in my film. But on the other hand, I am sad about the economics of cinema. The advance bookings are needed for the shows to be continued. We need to encourage walk-ins more than advanced bookings, otherwise, they tend to think that the audience is less. I wish for more people to encourage small films.

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