A little 10-year-old boy once watched a film directed by Mani Ratnam, featuring Kamal Haasan. The name of the film was Nayakan, and with that, iconic filmmaker Mani Ratnam earned a fan for life—one who eventually became one of the most prominent voices of Indian cinema, Bejoy Nambiar. Interestingly, despite his thriving career, Bejoy still works under his mentor Mani Ratnam as an Assistant Director (AD) in films like Ponniyin Selvan, Agni Natchathiram, and David.
We caught up with Bejoy Nambiar on the sidelines of A Retrospective of Mani Ratnam: Celebrating Four Decades of Cinematic Excellence, an extraordinary tribute to one of India’s most iconic filmmakers curated by him and presented by G5A. This visual journey offered a deep dive into Mani Ratnam’s storytelling brilliance, showcasing his unparalleled collaboration with legendary cinematographers. Through this retrospective, audiences experienced the evolution of his craft, the rich textures of his narratives, and the artistry that has redefined Indian cinema over the past four decades.
In an exclusive conversation with The Movie Mail, the Bejoy Nambiar opened up about his admiration for Mani Ratnam and how the celebrated director has influenced his journey. Edited excerpts from the interview:
What was the first Mani Ratnam film that left a profound impact on you as a filmmaker?
A. The first film by Mani Sir that I watched and found absolutely mind-blowing was Kamal Haasan’s Nayakan. I was quite young at the time and perhaps too immature to fully grasp the nuances of its characters and storyline. However, even at the age of ten, I could sense that it was a ground breaking film—unlike anything I had ever seen before. Growing up in a Tamil-speaking neighbourhood, our regular entertainment consisted of Tamil, Malayalam, and Kannada films. It was actually my neighbour who recommended watching Nayakan.
How has Mani Ratnam influenced your portrayal of gangster characters and flawed protagonists?
A. When I write, I enjoy exploring the grey areas of the human psyche, adding depth and nuance to characters. This is something we have undoubtedly learned from Mani Sir’s work. His portrayal of flawed characters is particularly striking because it mirrors the imperfections we all carry. It is these layers that make a story feel authentic and relatable.
What are your thoughts on self-censorship, especially when creating a socio-political film?
A. The times have changed significantly and we continue to evolve. Both audiences and filmmakers are undergoing a transformation. It’s important to remain relevant while expressing one’s perspective in a manner that is both impactful and accessible. Ultimately, as a filmmaker, my goal is to create films that can be enjoyed by everyone.
Could you share your most cherished memory and the best advice you’ve received from Mani Ratnam?
A. I had the privilege of working as an Assistant Director (AD) with Mani Sir, and even now, whenever I find myself at an impasse—whether it pertains to his projects or my own—I know I can simply call him. His advice is always practical and profoundly insightful.
I recall one particular instance when I was emotionally drained and on the verge of quitting a project after completing 80% of it. I called him to vent and share my decision. He asked me, “Are you happy with what you’ve accomplished so far?” I replied affirmatively but explained that I could no longer hold onto my vision due to external pressures. He said, “Quitting is the easiest thing to do. If you want to quit, go ahead. But what about your vision? If you’ve come this far, fight to preserve it. Even if it’s challenging, fight for what you’ve envisioned.” That piece of advice has stayed with me ever since.
If you could remake one of Mani Ratnam’s films, which one would it be?
A. I almost remade Agni Natchathiram. Everything was in place—the script, the groundwork—just a month before filming was set to begin. Unfortunately, it didn’t materialise, perhaps because it simply wasn’t meant to be.
