Manjummel Boys: A Tale of Friendship and Bravery at 55th International Film Festival of India

‘Manjummel Boys’: A True Story of Friendship and Bravery Takes Centre Stage at 55th IFFI

Swati Bhat

The Malayalam rescue drama 'Manjummel Boys' captivated audiences as it was featured in the Indian Panorama section of the 55th International Film Festival of India (IFFI). During Day 6 of the event, the film’s director, Shri Chidambaram, addressed the media at a press conference held at the PIB Media Centre in Goa.

The film is inspired by a real-life incident involving a group of 11 young men from Manjummel, a village near Kochi, Kerala. The team visited the Guna Caves in Kodaikanal, Tamil Nadu, where they encountered a life-threatening situation. One member fell into a deep pit within the cave, and despite efforts from local authorities, it was Siju David, a fellow team member, who bravely rescued his friend, undertaking a daring mission to save him. The incident, marked by friendship and selflessness, highlights the courage of these young men.

Chidambaram shared that the story was well-known, but previous attempts to make a film about it were unsuccessful due to the industry's reluctance. However, with the rise of OTT platforms, such stories now have more opportunities to be told. He also spoke about the challenges of recreating the Guna Cave in a Kochi warehouse, wishing he could convey its scent on screen, emphasizing the cave as the true protagonist of the film.

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“There are only two Gods worth worshipping – chance and light”: Veteran cinematographer Anil Mehta

These were the maxims shared by National award winning cinematographer, writer, actor and director Anil Mehta as “axioms that define the life of a cinematographer”

Swati Bhat

Chairing a masterclass titled ‘Guiding Lights’ in the side-lines of the 53rd International Film Festival of India (IFFI), Anil Mehta explained images are what appeal cinematographers. In practice, cinematography is guided by vagaries, chance, interpretation and individual choices, he said.

Mehta’s well-known projects include Lagaan (2001), Saathiya (2002), Kal Ho Naa Ho (2003), Veer-Zaara (2004), Kabhi Alvida Naa Kehna (2006) and Ae Dil Hai Mushkil (2016).

The languages of a cinematographer are different, he said. Getting caught at the quantity is not really cinematography, feels the veteran cinematographer.

What is his most valuable advice to future DoPs? “You should start your conversations with the director in an open manner and it is mostly about listening. Cinematography is also about listening, though it feels like a job where you talk to a lot of people, marshall your resources and get things done”, answered Mehta.

On virtual production in India, Anil Mehta commented, “We have not yet done enough work on it to know where it will go.”

Mehta explained the DoP point-of-view of some of his famous projects like Khamoshi, Badlapur and Sui-Dhaga. Some thought-nuggets that he shared with budding cinematographers/DoPs:

• A DoP should try to think about how to place the camera from the day he or she starts reading the script

• Anil Mehta personally doesn’t like to make a storyboard

• If you have a sense of scene and know what to play, then your work is half done

• Rhythm of the shot is something that the cinematographer can only feel

• Very often shots emerge while filming

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Kung Fu Panda creator Mark Osborne at IFFI 53 Master Class

Though the streaming platforms are a boon for animation films, the greatest evergreen trend in animation film making is emotional storytelling, said Mark Osborne, American filmmaker and animator famous for his films like Kung Fu Panda and The Little Prince. He was leading a Master Class session on the topic ‘Animation as a Tool for Expression’ on the sidelines of 53rd International Film Festival of India.

Swati Bhat

“With the emergence of OTT platforms, creating content for a global audience is going to be the norm. But at the end of the day, the film needs to connect with the people and touch their hearts``, he added. He further said that for creating such type of content, it's really important to find out what is meaningful to you. “If it is important to you and you are honest about it, you will find your audience. Honesty creates a fresh approach,” he elucidated.

Emphasising on the power of Animation, Mark said that animation is a diverse and vast medium that can tell any story. Digging deep he said, “To make somebody feel about something that doesn’t even exist, is really magnificent. It is the result of a continuous process of rewriting, rebuilding and experimentation. We feel the magic of animation when you see it come to life eventually.”

Mark Osborne also opined that one cannot finalise an animation project in script form. “As far as animation is concerned, the script is not locked. There is always scope for improvisation right to the last moment. It is going to evolve and change. Being a visual medium, we need to allow the visual medium to do a lot of work on the project”, he explained.

Responding to queries, the master animator said that every animator needs a support system to bring out the stories within them. “Supporting the artists and creators can help miracles happen. A safe space is needed for the artists to create animation”, he asserted.

On a cautious note to aspiring animation makers, Mark said that though it is important to draw inspiration from masters, care should be taken to not imitate their work. “You have to find a balance by exploring your own ideas. Every person will have a different perspective and life experience. Bringing this personal journey and experience into filmmaking is paramount. Mark Osborne also gave a detailed presentation of his journey in creating the movie The Little Prince by adapting the novel written by Antoine de Saint-Exupéry. The session was moderated by Prosenjit Ganguly.

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