Two towering artists: Why Mohanlal's 'Vanaprastham' was special for Shaji N Karun

A master of cinema, Shaji N Karun often found joy in the unexpected moments that unfolded on set, moments that revealed the true essence of art. For him, one such moment came during the filming of 'Vanaprastham' (1999), when two towering artists of Malayalam-- Mohanlal and Kalamandalam Gopi Asan, shared the screen.

Their chemistry was unique as both artists approached each other with a blend of reverence and nervousness. As a filmmaker, Shaji watched in fascination as the two, despite their nerves, brought out something extraordinary in one another.

Shaji’s bond with Mohanlal dates back to the actor’s youth, when he and his friends would visit Chitranjali in Thiruvananthapuram, dreaming of entering the film industry. At that time, Shaji served as the studio’s manager, a period following 1975. But it was Shaji who first captured Mohanlal on camera for Panchagni. In those days, cinematographers could only observe an actor’s performance through the lens of the camera as monitor systems weren’t available. Shaji always used to describe how Mohanlal’s performances always surpassed the initial instructions by the director, a brilliance he had the privilege to witness up close.

'Vanaprastham' was a daring project for Shaji, with a production cost of Rs. 4 crores. Though it was never intended to be a commercial venture, Mohanlal eagerly volunteered to co-produce the film, teaming up with a French company. Shaji fondly remembers the scene where both Mohanlal and Kalamandalam Gopi Asan acted together. Interestingly, despite their immense stature, both were nervous around each other. Mohanlal, intimidated by Gopi Asan, stumbled in his performance, while Gopi Asan, equally unsure, was hesitant in front of Mohanlal. Shaji believed that true acting emerges when an artist sheds their ego, and in that moment, he saw both actors embracing this philosophy.

Gopi Asan once shared with Shaji that audiences had always seen his face painted with the traditional Chutti (Kathakali makeup) and he yearned to reveal his real face to the world. Mohanlal, on the other hand, sought to do the opposite—he wanted to don the Kathakali makeup and show his audience a different, more complex side of himself.  Shaji felt fortunate to have brought these two legendary artists together on screen, marveling at their timing and the subtle competition between them.

The first screening of 'Vanaprastham' was held at the prestigious Cannes Film Festival. After the premiere, a throng of admirers gathered around Mohanlal, with Shaji, Suhasini, and Zakir Hussain by his side. Foreigners approached Mohanlal and remarked, "You should not have been born in India. Had you been born elsewhere, you would have received so much more recognition." Shaji always cherished a vivid memory of Mohanlal, smiling gently amidst the crowd, soaking in the admiration with quiet grace.

After 'Vanaprastham,' Shaji and Mohanlal never collaborated on another film. There were discussions about adapting T. Padmanabhan's Gadha into a movie, but it never came to fruition. Later, Shaji considered adapting the late Padmarajan's 'Manjukalam Notta Kuthira,' which featured a character perfectly suited for Mohanlal. However, the story, which required scenes to be shot in London, demanded a hefty budget. Despite this, Shaji was determined that when he did work with Mohanlal again, it would surpass 'Vanaprastham.' He was preparing to bring that dream to life. But that dream will now remain unfulfilled, as the legendary filmmaker has since passed away.