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Behind the Scenes of ‘Vaazhai’: Mari Selvaraj Discusses his Unique Approach and Challenges


Inside the monochrome-adorned office of filmmaker Mari Selvaraj, the largest artwork captures a young Mari sitting among visionaries BR Ambedkar, Periyar, and Karl Marx, his authored books laid out before him. This image sparks a deep and insightful conversation with the director ahead of the upcoming release of his film “Vaazhai.”

“It’s a piece of art that made me happy,” Mari begins, acknowledging the thoughtfulness behind the gift. “The books written by me are based on the understanding I got from the works of these three icons. We have stories, but what’s important is from whose perspective we are telling those stories,” he adds.

As he prepares for the release of “Vaazhai,” Mari reflects on the journey of his previous film, “Maamannan.” He confides, “With ‘Maamannan’, I was nervous about its business considering the big names attached to the project. But with ‘Vaazhai,’ I’m keen to see how those who personally know me would react.”

“Turning a part of my life into a film, where the director is the story’s victim, presented a unique challenge,” he shares. “But this film extends beyond my personal experience, tapping into broader societal connections. This society has given me a certain experience. By blending my understanding with today’s societal context in a film, I hope to help others comprehend my journey and our society’s essence.”

Mari goes further to highlight the inherent challenge and reward in making children’s films, asserting that it truly tests a director’s acumen. “A director who wants to test their acumen should do a children’s film because working within their pure world is a challenge,” he says. He explains that presenting societal issues through children requires extra thought and effort to pass those ideas via an understandable format. “Despite doing three films, ‘Vaazhai’ makes me proud and glad about my talent as a filmmaker.”

On the set of “Vaazhai,” the filmmaker witnessed the sharpness and adaptability of today’s children. “The inputs given to them are the same as with other actors,” Mari notes. “But the words and attitude I use differ; even the storytelling differs.” These interactions make him feel less like a director and more like an older family member narrating a bedtime story.

Reflecting on his body of work, Mari sees a thematic consistency. “Based on the films I’ve done, we could probably call them a series with ‘Vaazhai’ being the first entry.

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. Because they all are stories about the same land, a connection automatically emerges,” he explains. Each narrative seems to evolve organically: the fight for education in “Vaazhai,” the pursuit of legal knowledge in “Pariyerum Perumal,” and the political awakening in “Maamannan.”

Storytelling holds profound significance for Mari Selvaraj. “Our society flourished because of stories. If not for stories, the concept of God would have disappeared,” he states. His mission is to create narratives that generate worthwhile discussions. “I want to create a discussion and even if you disagree with me, I want you to debate it within yourself. If I believe everything I’m saying is right, I won’t be making films.”

Mari also emphasizes the importance of capturing everyday people’s multifaceted lives. “When we show incidents from someone’s life, it’s important to show who they are, what they loved, what they longed for and how they led their life.” Through this detailed portrayal, he aims to evoke empathy and awareness in his audience.

Despite his success, Mari acknowledges that he has yet to fully explore stories from women’s perspectives. “I have not started telling stories from the perspective of women yet; I’m just showing the version of my tryst with them,” he admits. Drawing from personal experiences, he illustrates how societal norms have shaped his sister’s life differently from his own, promising to explore these varied viewpoints in future works.

Mari is deliberate in his choice of stories, steering them towards themes that provoke thought and discussion. “It’s up to the director on what they want to stuff the film with, based on what they want as the end result,” he says. Whether aiming for commercial success or a timeless piece of art, he pays close attention to the narrative’s final impact.

His upcoming film “Bison” will delve into the lives of ordinary, hardworking people within a sports setting. “Bison will be set within the walls of a sports stadium,” he reveals, “The idea is to mount them on a canvas that would make the story reach the maximum number of audiences.”

As “Vaazhai” gears up for its release on August 23, Mari Selvaraj remains dedicated to creating films that reflect his experiences and provoke meaningful dialogue. Each story he tells continues to shape and be shaped by the society he aims to depict.

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