Mammootty fans are eagerly awaiting the release of Mamangam that revolves around a 17th century festival held at the banks of Bharathapuzha, in Kerala's Thirunavaya. To step down into that era and capture the action is a risky task for any artist. Having braced the challenges of working on a project exceeding Rs 45 crore, Mohandas Pallakkottil, art director of Mamangam, is finally awaiting release of his magnum opus on December 12.
Excerpts from an interview
About your journey from being an interior designer to an art director?
Well, it was not a calculative journey. I never thought I would work for movies, but destiny took me to it.
I hail from Palakkad, where I completed my schooling. For graduation I took up Interior Designing and went to Bengaluru. Between breaks I used to come back to my hometown and do stage decorations for various occasions for my friends and relatives. The aim was not money but a group effort which made me happier with my friends. I met Sethu Manarkkad (producer and production controller) at one of the events. He was amused by my work and asked whether I was interested in art direction in films. That is how I joined my first movie Kochu Kochu Santhoshangal as an assistant in 2000. Since then, there has been no looking back and here I am today with couple of big budget movies in my kitty including the upcoming period film Kunjhan Nambiar.
Mohandas Pallakkottil
Mamangam—your milestone project. How did it happen?
I was on the sets of Lucifer in Bengaluru and was setting up a scene when I got a call from director Padmakumar asking to meet him urgently at Kochi for Mamangam’s discussion. Lucifer's director Prithviraj permitted me to attend the discussion and I met the Mamangam team. I had a long discussion with the Director of Photography, Graphic Designer and Producer and I was given the script to read. Once I read, I was able to visualise each and every scene.
How did you plan and execute the whole idea?
The movie is set in the 17th century. Mamangam, as we all know, was celebrated flamboyantly by the Kozhikode Zamorins and Hindu Chiefs at Thirunavaya. Recreating the past to showcase the pomp and power of the most powerful chiefs of Kerala was not an easy job. Extensive research and exploration were needed. My friend Rajesh and I went to Thirunavaya and with the help of two famous writers Ummar and Rajendu, we were equipped with historical facts of mamangam. For further research, we depended on the books from Calicut University's library, Thrissur Sahitya Academy and Kottakal Ayurveda Hospital’s library.
With all this background information, I made a miniature model of what was needed. As the climax scene was crucial, special care was taken for those sets. After discussions with various departments, we decided to shoot 75 percent of the film using original sets and go low on VFX and Computer Graphics as our materials used for the shoot were mostly straw, thatch and frond. The major locations chosen for constructing sets were Ottapalam and Kochi. 150 days were taken to construct the climax set at Nettoor in Kochi and around 1000 workers were involved in the works. 90 days were taken to finish the other sets and totally 750 workers (including locals) were involved in it.
It was recreation of an era and culture through exploration and experimentation. I wanted to make sure our team was empowered and grounded whilst being excited and inspired to push the boundaries.
What pivotal details did you emphasis in the art work?
All minute details were taken into consideration, but I always felt that most of the swords used in periodic films lacked originality and finishing. I was determined to achieve it and had tried to give them the real look and finishing by using aluminium. You may also notice that most of the scenes were shot during night and mostly oil lamps were used in the 17th century. So, usage of colours and shades were tricky. We had to handle it creatively and carefully. I have to applaud the effort taken by our producer Venu Kunnapilly, for his cooperation towards a beautiful and passionate creation.
You have maintained a low profile even after working with huge banners and credible directors. How do you see yourself after the release of Mamangam?
For me, a good art director has to be open to influence, inspiration and the expertise of the people around them. There is no single formula to be a good art director: it is not a discipline taught in a design school or in books.
I forged my own path, have my own definition of what my role as an art director is and my own approach of getting the job done well. But I respect and remember the fact that these depend completely on teamwork. Creative exploration is crucial, so every day is a new day and learning process is happening with every new project. Therefore, even after the release of Mamangam, I will remain a student in the quest for another exploration.