Career As Screenwriter and Director
His stories deal with deceit, murder, romance, mystery, passion, jealousy, libertinism, anarchism, individualism, and the life of peripheral elements of society. Some of them are considered as among the best in Malayalam literature, his first novel Nakshathrangale Kaaval (With only the stars as witness) won the Kerala Sahithya Academy award (1972).
He entered the world of Malayalam films by writing the screenplay for Bharathan's directorial debut Prayaanam (1975) to take first steps to be one of the most talented script writers to have graced Malayalam cinema.
He later began to direct films based on his own screenplays, beginning with Peruvazhiyambalam (The Street as a Choultry) (1979), which are greatly popular among the common people as well as intellectuals and film critics, while maintaining richness in artistic and thematic originality and excellence. Padmarajan was a great experimenter who explored all walks of life in his works. His screen plays had such hitherto-unheard of features and subjects - such as casting rain as a character in Thoovanthumbikal (Fireflies of the Night), friendship and lesbianism in Desadanakili Karayarilla (Migratory Birds Don't Cry), unusual climax (By traditional standards) in Namukku Parkkan Munthiri Thoppukal (Wineyards for us to dwell) and Oridaththoru Phayalvaan (There Lived a Wrestler). Many of his films bear the mark of his romanticism.
He is celebrated for his possibly unparalleled attention to detail in his screenplays. Some of his scripts are arguably the smoothest narratives ever penned in the Malayalam language. They are also ample proof for his keen observation, acute perception, and astute portrayal of human relationships and emotions. Many of his films have stunning and haunting climaxes, most of them not commonly portrayed in Malayalam movies. His characters were portrayed with great sensitivity and intensity on the screen and many of the scenes are generously sprinkled with humor. The dialogues of characters are quite natural, in the language of the common man, and yet have a subtle lyrical quality.
Indeed, a just case may be made that his directorial merit flowed easily from his exquisitely crafted screenplays: he never directed a film based on a script written by someone else (unlike other Malayalam film directors of comparable stature, say, Bharathan and K. G. George), and rarely adapted his script from a story not his own. Consequently, he had an unusually intimate knowledge of the characters in his films in combination with his mastery of the script.
Read more about this topic: Padmarajan
Famous quotes containing the words screenwriter and director, career as, career, screenwriter and/or director:
“Upon entering my vein, the drug would start a warm edge that would surge along until the brain consumed it in a gentle explosion. It began in the back of the neck and rose rapidly until I felt such pleasure that the world sympathizing took on a soft, lofty appeal.”
—Gus Van Sant, U.S. screenwriter and director, and Dan Yost. Bob Hughes (Matt Dillon)
“My ambition in life: to become successful enough to resume my career as a neurasthenic.”
—Mason Cooley (b. 1927)
““Never hug and kiss your children! Mother love may make your children’s infancy unhappy and prevent them from pursuing a career or getting married!” That’s total hogwash, of course. But it shows on extreme example of what state-of-the-art “scientific” parenting was supposed to be in early twentieth-century America. After all, that was the heyday of efficiency experts, time-and-motion studies, and the like.”
—Lawrence Kutner (20th century)
“Are you going to bark all day, little doggie, or are you going to bite?”
—Quentin Tarantino, U.S. screenwriter and director. Mr. Blonde (Michael Madsen)
“Your audience gives you everything you need. They tell you. There is no director who can direct you like an audience.”
—Fanny Brice (1891–1951)