Chidambaram’s sophomore film, Manjummel Boys (2024), chronicles the courageous story of a group of friends. ⁤⁤As the protagonists embark on an escapade, one of them falls into a pit, leading to a rescue effort in the Guna Caves. ⁤⁤Manjummel Boys — now streaming on Disney+ Hotstar — is a thrilling and touching tale, which filmmaker Chidambaram executes with enormous skill. ⁤⁤In this interview, the writer-director discusses his process of directing the ensemble cast, the relevance of using flashback sequences and the design of the cave’s soundscape.

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Dipankar Sarkar: Manjummel Boys is based on an unfortunate 2006 incident at the Guna Caves. How did this event inspire you to make a feature film?

Chidambaram: So, this story is well-known, like an urban legend, particularly among the people belonging to my generation who grew up during the 1990s. Many have attempted to turn this tale into a film, a decade ago, but did not succeed due to budgets and technical constraints. My friend Shaun knew the real-life boys on whom Manjummel Boys is based. One evening, I paid a visit to their home, and they recounted the story with great enthusiasm. It inspired me, and I decided this story had to be told. People should know about it because it is a story worth telling.

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DS: In your debut feature film, Jan.E.Man(2021), the protagonist, a nurse in Canada, travels back to India to celebrate his 30th birthday with friends. Whereas, in Manjummel Boys, a group of 10 friends go on a trip to Kodaikanal, Tamil Nadu, during an Onam vacation. Why do travel and the company of childhood friends play crucial roles in advancing the stories of your film?

Chidambaram: It wasn’t a deliberate choice in either of the films to include both of these aspects. I believe you’re at your truest when you’re without a mask — when you are closest to your true self — just like when you’re with your closest friends. You are fully immersed in yourself when you are with them. There’s no need to act or pretend, as there is no pressure. It’s a space where you behave genuinely and become like one of them. I also believe that when one travels, it always evokes emotions and offers new landscapes to explore. It’s like food for the brain. So, maybe that is the reason why friendship and traveling are part of my stories.

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DS: Also, both of your films have an ensemble cast. So, what is your approach to directing the performers?

Chidambaram: Directing an ensemble cast is quite challenging. However, since all these actors are my friends, it’s also enjoyable. They are all talented, and I prefer not to control them but rather let them express themselves freely. I provide brief pointers, then allow them to flow naturally while capturing a master shot. From there, I improvise based on what they deliver. That becomes my approach to blocking the shots for the actors. I’m also very particular about the casting process. I choose to work with diverse actors, which makes my job easy. 

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DS: Various set-ups pay off later in Manjummel Boys. How important are these narrative techniques to you as the writer?

Chidambaram: I like using the narrative principle of Chekhov’s gun in my screenplay. It was also present in my first film. I prefer structuring my films in that manner, though perhaps it won’t feature in my next project. These techniques imbue traits in my characters and render them diverse and multidimensional, both as individuals and as characters. It’s essential to avoid a singular emotion throughout, so I allow the characters to explore various emotional spaces. I aim to employ different individuals in distinct settings to enrich the narrative further.

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DS: Initially, the police are reluctant to assist the friends, but they ultimately cooperate. Is their change of heart out of a sense of humanitarianism or to protect their reputation in the eyes of the public?

Chidambaram: No, it wasn’t to protect their reputations. The police are also humans. Without the help of the Fire Service and Police Force, the boys wouldn’t be able to rescue their friend. So, it was natural for the police to come forward and help. Moreover, if the police had not allowed them to leave Tamil Nadu, they wouldn’t have returned home to Kerala. So, of course, the police are on the humanitarian side, and that’s what I have shown. When confronted with difficult circumstances, there are no borders, no languages — nothing matters.

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DS: The flashbacks and dream sequences within Manjummel Boys are depicted in a way that suggests they have deep psychological significance.

Chidambaram: The film revolves around the friendship of a group of boys, and I didn’t want to rely solely on dialogue to illustrate their closeness. So, I opted for visuals of children running free in a green paradise-like meadow with factories in the backdrop. These childhood scenes served as a visual shortcut to delve into the depth of their childhood experiences, including the memories and traumas that shaped them into who they are. These scenes also helped me break the monotony of the cave setting.  

When it came to the dream sequences, I aimed for a balance between dream-like and realistic portrayals. I incorporated common dreaming patterns, such as walking naked around people you know or feeling ignored by friends, to evoke vulnerability and emotional depth.  I’ve also shown pranks that Subhas played with his friends as a child, like hiding from everyone for a long time. So, it’s all connected, and I have used them purposefully within the narrative.

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DS: Manjummel Boys doesn’t end with Santosh’s rescue but instead continues to depict his experience as he grapples with the aftermath of survival trauma. Why did you decide to portray this aspect of his journey?

Chidambaram: The name of the real-life character is Subhash. When I met him, what I heard from him was very sad. When he closes his eyes, it takes him back there, into the pit. He couldn’t sleep for six months after the incident. People at that time were not aware of PTSD or anything, and his problems were not addressed. It still has its roots in him. If I talk to him today, I can also see the fear and everything that’s in his eyes. So, I thought it should be addressed. Even if it’s a story of heroism, it doesn’t end there. There are consequences — real-life consequences. That’s what I wanted to show.

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DS: Why did you decide to end Manjummel Boys with photographs of the real group of friends, as well as Siju David being awarded for his valor?

Chidambaram: A film is forever; it is a memory, like a time capsule. It will continue to exist even if I die. Since it is a film about them, that’s why I wanted them in the film. They have also acted in the film. In the first tug-of-war scene, the real boys are the opposing team, and they win the match. I wanted them to win also because, in real life, they are the ones who won. So, I was very adamant that I wanted them in the film. It is a real story, and those choices make this film special. It adds to the whole experience of watching their story.

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DS: What sort of research and planning went into creating a convincing match of the actual location with such detailed and recreated sets?

Chidambaram: I wanted the cave to replicate the real Guna Caves precisely because it is ingrained in people’s memories through the film Guna (1991). One of the film’s songs was shot inside the cave, so people are already familiar with its shape and structure. While it would have been convenient to cheat and shoot in another cave, it would have been easily caught. Therefore, my team and I visited the real Guna Caves in various climates and at [different] times of the day, experiencing their different behaviors and smells. Further, we worked with a VFX team to laser scan the cave, take measurements and create moulds from real rocks to replicate it accurately. Inside the set, we brought soil, floor materials, foliage, dry leaves and plants from Kodai. We watered them twice a day and ensured they were air-conditioned for optimal growth. All these efforts were crucial in recreating the authentic atmosphere of the caves.   

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DS: How was your experience of working with Shyju Khalid as the cinematographer for Manjummel Boys?

Chidambaram: It was very easy to work with Shyju Khalid, and I was very happy to get him on board. He was my main technical requirement because he’s one of the best cinematographers. Whatever I asked for, he gave me more than I expected. He is the man who made the story look believable. Every shot has a lot of memories. We shot inside the real caves for Subhash’s dream sequence, and it was a terrifying experience. We overcame a lot of fear of heights and everything. We also did a lot of crazy things, like putting Jimmy Jib on the side of the cliff at 12 feet. We were the first to arrive at the caves, so we got around 10–14 minutes just to be in the caves.

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DS: How did Vivek Harshan’s editing help Manjummel Boys?

Chidambaram: Vivek determined the tempo of the film. While I initially leaned towards a slower edit to allow for breathing space, Vivek opted to speed up the pace. His decision proved significant for the film, as he brought a wealth of knowledge and techniques to the editing process. His skillful intercutting of scenes was particularly impressive. Given that the film unfolds over a single day in continuous space and time, the editing presented unique challenges, requiring us to trim and expand time while ensuring coherence. I confidently assert that this film is truly an editor’s film. 

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DS: What was your brief for Sushin Shyam, whose background score effectively hits all the right notes?

Chidambaram: I wanted the cave to play like a key character in the film. I envisioned the sound as coming from a large, angry creature with a rumbling stomach. To achieve this, we used war horns and other primitive instruments to create a sense of antiquity, as if the sound originated before human civilization. We also incorporated a lot of synth-based layers to enhance the overall atmosphere. In briefing Sushin, I emphasized the emotional impact I wanted to evoke, such as moments where I wanted the audience to cry or feel moved. Through collaboration, we arrived at a soundscape that met our vision for the film. 

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DS: Nowadays, films are released in theatres first and then streamed on OTT platforms. Manjummel Boys also followed this pattern. Does this process hinder the business of a film, as some people may wait for the streaming option and avoid going to cinema halls?

Chidambaram: Many people eagerly awaited the film’s release on the OTT platform. I can’t blame them because these platforms have become a significant source of income and sustainability for films today. However, even after three weeks of streaming, Manjummel Boys continues to run in theatres across Kerala, Tamil Nadu and Andhra Pradesh, having completed 100 days. There’s a unique charm to watching a film on the big screen. I wish films had a longer theatrical run before streaming. But unfortunately, there’s a business model that we must adhere to. While I don’t believe it directly harms the industry, it certainly impacts the theatre experience.

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DS: What are you currently working on?

Chidambaram: I haven’t decided on any specific project yet. I’m hopeful that I’ll start working on something soon.

Dipankar Sarkar (@Dipankar_Tezpur) is a graduate in film editing from the Film and Television Institute of India and currently based in Mumbai. As a freelancer, he frequently contributes to various Indian publications on cinema-related topics.

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