Bharat Gopy has fond memories of the film. The moustache that my character, Ayyappan, sported was real. George made me pose for still photographs in the costumes of Ayyappan and that was it. The entire shoot was in the suburbs of Thiruvananthapuram (Vattiyoorkavu).
The theatre, the house to which I bring Jalaja, were all located nearby. If my memory serves me right, the name of the studio was ‘Sreekrishna Studio.’
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In a no-holds-barred chat with MV Sreejith, Bharat Gopy opens out on his early years in theatre, his entry into films, and his acceptenance of destiny as a crucuial part of one’s existence.
Bharat Gopy minces no words as he discusses his political affiliations, his transition from a staunch leftist to his growing disenchantment with the principles itself, and how a new perspective is the need of the hour for the nation.
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In conversation with Asianet Television in its Suprabhatham segment on his birthday as he speaks on his illness, his views and perspectives on life and his journey as an actor, in film and theatre.
Brutally frank and objective he analyses the changing business of film acting, and the business of movie production. Movie making is an industry now, and as with any other commodity, it need to have all “ingredients” to make it fly off the shelves.
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Bharat Gopy’s interview with media anchor and talk-show host R Sreekandan Nair in the Asianet MidEast Radio Program, post the release of Ente Hrudayathinte Udama in 2002. In a free-wheeling chat, Bharat Gopy opens up on the existing “business of Malayalam cinema”, the process involved in adapting Perumbadavom Sreedharan‘s novel for the screen, the need for cultural purge in the sensibilities of cinema and about the belief in good cinema.
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Bharat Gopy’s first exhaustive video interview, aired by Surya TV on 1st November 2002, which was also the Formation Day of the state of Kerala.
Pulling no punches, Bharat Gopy speaks his heart out on the state of cinema, the aesthetics in creating movies, the commercial “hijack” of the film industry and his new perspectives on life and the future.
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Gulf News reports on Bharat Gopy’s upcoming visit to the Emirates, as guest of honor to inaugurate the Music Gala -98 fiesta to be held at Al Nasr Leisureland, organised by Varkala Sivasankaran, from the first week of May, 1998.
This was also Bharat Gopy’s first trip to the United Arab Emirates.
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“Now I have learned to take things lightly. I bask in the lightness of being. My old self would have been angry if this tea-pot would have remained here for an hour even after guests have left.
My greatest misery is that I don’t know how to behave well. Mind you, behavior is different from character. Animus is alien to my character. But people misunderstand me for my directness,” he muses.
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Bharat Gopy considered TR Sukumaran his “Acharya” in the art of theatre performances, and was the epitome of the finest performances in theatre he had witnessed in his lifetime, that haveb touched, moved and influenced him.
Bharat Gopy was invited to deliver the Keynote Speech at the TR Sukumaran Nair Memorial Theatre Fest in Thiruvananthapuram, organised by the Swati Thirunal Sangeeta Sabha.
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The poetics of this film, expressed mainly through the highly personalised semiotics of the director, confirms not only Gopy’s understanding of the self-awareness of the handicapped but also his severe self-control and discipline in using every frame, every foot of the film.
Yamanam is not just a dramatization of the plight of the handicapped, its a revelation or epiphany of post-modernist film poetics.
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Bharat Gopy is of the firm belief that Indian audience do not need a Censorship entity to decide on their behalf, what to watch and what not to, in a feature film. With Yamanam, he adds wryly that not a single distributor has even evinced interest in the movie, regardless of it winning a National Award.
He is hopeful that Doordarshan would, at some point in time, decide to telecast the film as they are duty bound for all National Award winning features.
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“My disability, because of a stroke, doesnot permit me to act in films, ” says Gopy in the Press Club Meet in Thiruvananthapuram post his recovery. ” That is why I have taken to production and direction.”
According to him, the trend in Malayalam films characterises the mad race for spinning money. But Gopy is optimistic that things will turn for the better in the next decade.
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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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