Venkat Prabhu on ‘Manmatha Leelai’: We are still conservative about watching two people kiss on screen

There used to be a time when adultery was a recurring motif in the works of Tamil cinema’s legendary filmmakers: most of K Balachander’s were about a love triangle, Bharathiraja made an edgy Sigappu Rojakkal (1978) and a heartwarming Muthal Mariyathai (1985), Balu Mahendra had Rettai Vaal Kuruvi (1987) and Sathi Leelavathi (1995) . Given the history of films, adultery as a concept is not new to Tamil audiences. Nor is it revolutionary.

But the space it once had in mainstream cinema died down, believes Venkat Prabhu. This, however, was not the reason why he wanted to explore ‘adult comedy’ in Manmatha Leelai starring Ashok Selvan, Samyuktha Hegde, Riya Suman and Smruthi Venkat. From the films Prabhu caught on OTT platforms over the last two years, the director felt he was only watching “serious” content — whether it was Navarasa, Pava Kadhaigal or Putham Pudhu Kaalai. 

“Even the Malayalam films I saw had a serious overtone. I missed watching something ‘fun’. I told my assistant [Mani] about this and he came up with the story [of Leelai] and we both worked on the screenplay,” he says.

Venkat Prabhu wants to bring American Pie to Kollywood and Manmatha Leelai is the first step. It was originally conceived for an OTT platform, given the subject. Prabhu, however, clarifies that though it is an adult comedy, it is not crass. But the larger question is: Is there space here for a film like American Pie?

Venkat Prabhu during the making of ‘Manmatha Leelai’
| Photo Credit: Special Arrangement

“I think people will slowly start opening up to it. We still have a conservative mindset about watching two people kiss on screen. But somehow they watch it secretly on their phones [ laughs]. We have been groomed like that. When you do an adult comedy, it shouldn’t be upsetting for the audience. With new filmmakers coming in, this is bound to change,” he says. 

Prabhu says he wanted to prepare the audience for its mature content through promos and trailers, a lesson he learnt from Massu Engira Masilamani’s failure. He knows people have been making jokes already from the trailer, which shows a man getting caught in the act. But Prabhu doesn’t care about them. “In fact, I was asked by someone why I have started making bittu padam [soft porn]. It is only a matter of perspective; you cannot consider every person’s opinion or how they would perceive it,” he says.

That brings us to an even bigger question of the hesitancy to show intimacy (not nudity) for a film exploring adultery. Prabhu believes we are still not ready. 

“If you take any big web series made in India, there is sex. It is becoming a normal thing but it is not done just for that. It is to show the audience how physically close the couple is. There was a sequence in Manmatha Leelai which needed a lot more detailing. Had this been a straight OTT release, I would have probably added it.”

The title font of Manmatha Leelai is taken from both Manmadhan (2004) and the 1976 film of the same name, while the trailer had a song from Bhagyaraj’s Chinna Veedu (1985). Barring the influences these films had on Prabhu, he says it was to show that his film takes place in two different timelines, “We have tried telling the story of the past and present simultaneously. The story-telling pattern is what excited me. I want to see that excitement on people’s faces.

Pat on the back

Venkat Prabhu has not had a feature film release since Chennai 600028 II (2016). Even his comeback film Maanaadu, one of the biggest hits last year, was mired in issues leading up to its release.

But Maanaadu was the much-needed validation he was waiting for.  “When you get good reviews, the director gets a high. If the film is making good money, then the producer is happy. I think for Maanaadu everything fell into place. This is what motivates you to keep going,” he adds.

Venkat Prabhu on the set of ‘Manmatha Leelai’
| Photo Credit: Special Arrangement

When a filmmaker delivers a blockbuster with a star, it is a given that the next film they work on should have an even bigger canvas. At least that seems to be the rule with which Tamil cinema operates — Prabhu agrees too. He says there was a fear that people from his social circle created for Manmatha Leelai, having just delivered a hit. 

“In a way, they are also right. This [ Manmatha Leelai] cannot collect like Beast or K.G.F: Chapter 2. We need to calculate numbers based on this film’s market,” says Prabhu, “But look at Malayalam cinema. I don’t think Baahubali was remade in Chinese, but Drishyam was. What I am particular about is exploring different genres and content. At the end of the day, I am a filmmaker, not a businessman.”