Remember the significant impact that Goli Soda made way back in 2014? It was a modest film that won hearts by narrating the tale of teenage boys compelled to stand up for themselves when cornered. This film not only propelled ace cinematographer Vijay Milton into the limelight as a filmmaker to watch out for, but it also marked a pivotal moment in his career. Reflecting upon Goli Soda, Milton likens himself to a 13-year-old boy who, just like the protagonists of the film, had to fight back against the odds. “It feels like one of those daring mistakes children make, as I can’t quite fathom where I found the courage to undertake such a project and how I succeeded in finishing it.”
Milton fondly recalls the precision with which he transcribed the vision to the screen and the palpable vigor he observed in the actors and his assistants. “I didn’t provide basic amenities required for a film shooting. I mention this because my driving force was a dream, but these people followed me without such motivation,” he reminisces.
Fast forward ten years, and Milton finds himself in a vastly different position. He no longer has to second-guess providing caravans for his actors. His projects now boast significantly higher production values, featuring stars like Shivarajkumar and Daali Dhananjaya. After delays caused by the COVID-19 pandemic and the production house Infiniti Film Ventures’ extensive line-up of films with lead star Vijay Antony, Milton’s latest venture, Mazhai Pidikkatha Manithan, is set to hit the screens this week.
The film’s title, ‘The Man Who Despises Rain,’ immediately grabs attention. Milton’s insistence on this title is understandable once you delve into the film’s essence. It evokes an aura of mystery about the protagonist, which Milton identifies as the crux of the film. “In fact, Mazhai Pidikkatha Manithan is inspired by The Equalizer, starring Denzel Washington. In that film, the enigma surrounding the lead character captivates the audience, with information being revealed gradually throughout the movie. I’ve attempted to replicate something similar in this film,” Milton explains.
The poetic action film, Mazhai Pidikkatha Manithan, showcases its finesse through various promotional materials. A character expresses the solace found with a stranger, comparable to the comfort felt in a temple under an unseen deity’s protection. Another dialogue articulates that the world’s purpose lies in our endeavors to understand those around us. These dialogues resonate with a biblical poetry, a style Milton attributes to his fondness for Russian literature. “My father instilled a reading habit in me as early as six or seven years old. Eventually, I stumbled upon translated Russian literature. They sold big novels in Tamil for as little as ₹2. The translations made the character dialogues come across as somewhat biblical,” Milton explains, noting he took creative liberties to infuse this spirit into the film.
Understanding the hesitations of the Gen-Z audience towards anything overly emotional or poetic, frequently labeled as ‘cringe,’ Milton assures that his film won’t face this backlash. “Here, I haven’t urged audiences to embrace any ideology, which could be perceived as ‘cringe’. Instead, I aim to engage them in a mature conversation, ensuring concise expression,” he states. Through Mazhai Pidikkatha Manithan, Milton aims to change the perception of violence normalized by modern audiences.
. “You’ll not witness gruesome fight scenes or bloodshed. Although the underlying anger behind the action is palpable, it’s how this anger is depicted where I’ve drawn a line,” Milton adds.
Mazhai Pidikkatha Manithan is also Milton’s first release following his experience with superstar Shivarajkumar in the 2022 Kannada film Bairagee. Collaborating on such a project led Milton to introspect on his filmography and adapt his style to fit a star’s image. “My approach is rather earthy and realistic. Even punch dialogues are penned in a natural modulation. But for big stars, the scale has to be heightened. I realized I hadn’t done this in my films,” he recognizes.
Working with superstars like Vijay, Vikram, and Shivarajkumar has broadened Milton’s perspective. “They would sit next to the camera humbly, refusing the luxury of caravans until the shot was ready. Thus, handling them is as comforting and straightforward as managing teenagers in Goli Soda,” Milton observes.
Vijay Antony, the lead in Mazhai Pidikkatha Manithan, also epitomizes humility. “He is someone who knows precisely who he is, neither swayed by exaggerated praise nor diminished by undue criticism. In cinema, this is a commendable quality,” Milton points out.
Despite nearly two decades in the industry, dealing with superstars, and venturing into different regional cinemas, Milton believes his essence as a filmmaker remains unchanged. “For every new movie, I have five assistant cameramen and five assistant directors note down improvements I should make. They consistently observe that I haven’t fundamentally changed,” he reveals.
Milton’s control over every production aspect, from set details to costume design, demonstrates his unwavering approach. “I might be a control freak, but this stems from my dual role as director and cinematographer,” he admits.
Balancing direction and cinematography is no small feat, and Milton’s meticulousness lets him avoid burdening another cameraman unnecessarily. “I prefer annoying technicians to get what I want rather than misusing another cameraman,” he confesses.
Remaining updated with evolving camera technology, Milton values recognizing excellence in others. “A good artist acknowledges when outperformed. Whether it’s an ad or an Instagram reel, I identify what I know versus what I need to learn,” he notes.
Discussing failure, Milton gets candid. “Filmmakers advise detachment post-sensor certification, but I’ve never managed it. I still haven’t moved past the failure of my debut film, Azhagai Irukkirai Bayamai Irukkirathu. Pouring your heart only for it to go unrecognized is tragic,” he expresses. For cinematographers, the film’s business aspect doesn’t hinder career growth, which is heartening given the new-age focus on craft over box office success.
