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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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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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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