മുഖാമുഖം : സിനിമ, നാടകം, അല്പം കവിതയും

മുഖാമുഖം : സിനിമ, നാടകം, അല്പം കവിതയും

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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Interview in the Screen Magazine – August 1984


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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Imitation of Life

Bharat Gopy in Lekhayude Maranam-Oru Flashback

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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An Actor’s Statement.


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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Gopy seeks no glamour.

Gopy seeks no glamour.

The award-winning effort in Kodiyettam was only the second and his swan-song for the screen could be the role of a circus company manager in ‘Thambu’, directed by Aravindan, the tall, bald, unassuming and soft-spoken Gopy hinted. Quite unlike other role-hunting, individualistic, selfish, mercenary stars, Gopy is concerned about the total impact of a film. His concept and approach to the medium are also different. Success depends on the co-operation of the artistes and the technicians, he says.

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