At the 23rd International Film Festival held at Bangalore, Bharat Gopy was fury personified as he lashed out against the senseless levels at which the Panorama Selection Committee works.
He tells BS Nagaraj and MK Madhussodhan as to how, for the life of him, he cannot understand how Yamanam, a National Award winning film couldn’t find a place in the Indian Panorama, as compared to the potboliers “in” like Henna.
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You can get involved in the character, never identify with it.If I have to think of myself as a rowdy to do the role of a rowdy, I will not do justice to the script. Acting is a conscious process.I am cent per cent Gopy before the camera. The moment I forget this, I lose control. A good actor must have a sense of proportion. He should not give more or less that what the role demands. And he must be able to switch on and off. You cannot do this if you are one with the character.
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Several actors emerging from the stage tend to be theatrical, but very seldom has Gopy been so.He did add a tinge of theatricality to while emoting the role of Justice Balagangadhara Menon in the Bharatn-directed “Sandhya Mayangum Neram”.
It was deliberately done since the character was of derailed mind due to an intense sense of sin.
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An ex-employee of the Kerala State Electricity Board, who is now living on his pension and wife’s salary is one of the few actors in India who have acted in languages other than his mother-tongue and won laurels abroad for both. Gopy was recently conferred the Best Actor Award at the Tokyo Film Festival.” Cinema in its pure form is not yet born,” says the balding thespian who was first introduced to cinema by Adoor Gopalakrishnan in Swayamavaram , and subsequently acted in the same director’s Kodiyettam .
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Following a premonition, Muniyandi returns abruptly and quietly. And as he knocks on the door, he sees a shadow sneaking out of the back door. Maybe Muniyandi has recognised the shadow, maybe he has not, but it does not matter really.
The crucial event is the clandestine visit- after that Muniyandi has no desire to continue living. The next morning, Sankaran is in a nightmarish half-sleep, with strange noises floating around him.
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A retrospective of stars representing popular Hindi as well as regional films.This includes films of Dilip Kumar, Nargis, Waheeda Rehman, Meena Kumari, Balraj Sahni, Prithviraj Kapoor on the one hand and Shashi Kapoor, Smita Patil, Naseerudin Shah, Shabana Azmi, Om Puri, Soumitra Chatterjee, Gopy, Amitabh Bachchan on the other; works of atleast three women directors : Sai Paranjpye, Aparna Sen and Prema Karanth; some regional films that are part of the “new cinema” and which have been selected from among those shown at annual film festivals in India.
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Slowly but surely, cinema is getting rid of elements borrowed from literature, theatre and music.One day there will be pure cinema.I hope to be closely associated with film makers travelling towards that direction.As an actor, I hope new demands will be made of me.Right now, the most excruciating thing I’m asked to do is to feel very sad and lonely on a set jam packed with people.Which is very easy to perform because I can switch off in a second and really believe that I have landed on a deserted island.
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സിനിമയെക്കുറിച്ചും ഗോപിക്ക് വളരെയേറെ പറയാനുണ്ട് .നാടകത്തിൽ നിന്നും സംഗീതത്തിൽ നിന്നും കടംകൊണ്ട അംശങ്ങളാണ് ഇന്നും സിനിമയ്ക്ക് ആധാരം.ഒരു ദൃശ്യ -ശ്രവ്യ മാധ്യമമെന്ന നിലയിൽ തനതായ ഒരു ശൈലി ഇനിയും സിനിമയ്ക്കുണ്ടായിട്ടില്ല. കഷ്ടിച്ച് ഒരു വയസ്സാവുന്നതെയുള്ളൂ സിനിമയ്ക്ക്. അതുകൊണ്ട് ഇന്ന് സിനിമയിലുണ്ടാവുന്ന നല്ലതും ചീത്തയുമായ ശ്രമങ്ങളെല്ലാം തന്നെ വരും തലമുറകൾ ശൈശവ ചേഷ്ടകളായി കണക്കാക്കാനും തള്ളിക്കളയാനും മതി, ഗോപി കരുതുന്നു.
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ഞങ്ങൾ നാടകത്തിന്റെ വർത്തമാനത്തിലിറങ്ങി. ജി ശങ്കരപ്പിള്ളയും അദ്ദേഹത്തിൻറെ ശിഷ്യനായി ഗോപിയും പ്രവര്ത്തിച്ച പ്രസാധന ലിറ്റിൽ തീയേറ്റർ, കാഞ്ചനസീത – സാകേതം- ലങ്കാലക്ഷ്മി – നാടകത്രയം, സി എൻ – സി ജെ എന്നിവരിലൂടെ ഉരുത്തിരിഞ്ഞ തനതു സങ്കൽപം, നെടുമുടി വേണു, ഗോപി തുടങ്ങിയവരുടെ കളിയരങ്ങായിത്തീർന്ന കാവാലത്തിന്റെ തിരുവരങ്ങ് നാടകസംഘം, കടമ്പയിൽ നിന്ന്, എന്തികൊണ്ടോ കടന്നുകയറാൻ അറച്ച് നില്ക്കുന്ന തനതു നാടക പ്രസ്ഥാനം. ചതുരവടിവിൽ മാത്രം നിന്ന് ഞെരുങ്ങുന്ന നാടകക്കള രികൾ, ഇങ്ങനെ ചർച്ച സജീവമാവുകയായിരുന്നു.
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Bharat Gopy in conversation with Sriprakash Menon of Screen Magazine, as he elaborates on how acting essentially boils down to natural talent, on his selection of the roles that come his way and how he has been blessed to have been offered a variety of onscreen characters.
To him, the director will be the chief architect of the film always, and the more challenges that is thrown the actor’s way, finer is the outcome and the output, to be appreciated by the audience.
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The rest of the film show Lekha’s developing relationship with Suresh Babu, played by Gopy, the cameraman-director and art-film maker, who is married and has a son. At the pinnacle of her career, after she wins the Urvasi award for her performance in one of Suresh’s films, she elopes with him.Visalekshmi has hysterics and confronts Lekha in heavy, melodramatic scenes. Babu’s wife and son blackmail him emotionally. Finally Babu breaks off with Lekha, who commits suicide.
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Most small-minded actors fall in love with their own image onscreen, their minds are static.They fail to criticize themselves or listen to their criticism.The thing I saw while I shot the scene is what I see on the screen later – no difference.
Only now I have nothing to do with that image, whatsoever. A character once performed, must be entirely annihilated.
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Mani Kaul, celebrated film maker interviewed Bharat Gopy in 1979 for the Times of India, immediately after his winning the National Award for the Best Actor. Read the full interview here.
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