- 3 minutes ago
Veteran filmmaker Adoor Gopalakrishnan believes cinema should do more than simply give audiences an escape. Speaking at the India Today South Conclave 2026 in Kochi, Adoor criticised commercial filmmaking for often underestimating viewers and assuming they don't want to think.
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00:00Join me in welcoming on stage the legend Adur Gopalakrishnan film director, screenwriter,
00:06producer. Sir, if you could please join me on stage here.
00:49Welcome, sir, to the India Today Conclave. It's an honor for us that you've chosen to be here to speak
00:55about all of your work.
00:57And honestly, I don't know where to begin. Twenty minutes simply is not enough to cover your body of work,
01:02sir.
01:03And some of the films that, you know, you've done have stood out, not just in the Malayalam film industry,
01:10but I think the country, the world has recognized your work so very often.
01:14But I must highlight, sir, a legend coming back now with another film. What brought you back, sir, now?
01:24No, I, see, my, the new film I, I was making after ten years.
01:33So, somewhere, sometime during the COVID, people stopped making, going to the cinemas.
01:43And came the, what do you call, the OTTs.
01:48Yeah.
01:50So, they were watching films on the OTT.
01:54And, and there, there were hardly any people going to the cinemas.
02:00So, around that time I thought, you know, it's no use making films.
02:05Because, because I don't believe in making films for the OTT.
02:09Why, sir?
02:10The film has to be seen in the cinema, in a darkened hall, with people really intent on me, seeing
02:19a film.
02:20That's the experience of a film.
02:22Yes, yes.
02:23The film has to be a full experience.
02:25It, it cannot be a casual experience.
02:27There's a, there's a difference there, sir.
02:29So, many people say that, okay, we'll go to a theater to watch a film with lots of action, a
02:33film that's a 3D experience, 4D, all of that.
02:36And, at home, we'll sit with our family, in the comfort of our home, and watch films that maybe Adur,
02:43sir, makes in OTT.
02:45Actually, it's a compromise.
02:47Okay.
02:47Because, I make films to be seen in a dark, darkened hall, a proper auditorium with acoustics, everything perfect.
02:58And then, you have the sounds, the pictures, everything working on you.
03:03Because, I have before me a dedicated audience.
03:08They have, of all the films running in several cinemas, they have chosen one film, that is mine, they have
03:15come to see it.
03:16So, I have a responsibility to them.
03:21So, I respect my audience.
03:24So, since I respect my audience, I try to share with them.
03:28I'm not giving them lessons, no.
03:32No.
03:34I am sharing an audience, with an audience, my experience, which is worthwhile, you know, sharing.
03:42It should be, they should not be, I should not lead them to the wrong things.
03:48Because, by watching the films, they should become wiser, they should become more critical,
03:56they should, you know, start understanding the world in a completely different way, etc.
04:03So, these are my ambitions.
04:06You've converted me, sir.
04:07I'm always someone who waited for the movie to come on OTT, sit at home and watch it.
04:12It's a compromise, because, because my film, once it has finished its run in the cinemas,
04:18then it can…
04:19I don't mind being shown on the OTT,
04:21because that will bring a little more revenue from there.
04:26Even there, you know, if it runs very well in the cinemas,
04:29then you will get good pay from the OTT.
04:32It depends again on the number of days it runs in the cinema house.
04:38So, it's an experience, it's a connect that you have with the audience that matters.
04:41So, you've come back, sir, because you're saying that you want to bring back that experience
04:45of watching a film in a theatre?
04:48Yes, yes, yes.
04:51Primarily, primarily my films are made for the cinemas.
04:53Not for OTT, small screens.
04:57People watch these things even on their watch.
05:02It is terrible.
05:04Even on a small screen like this.
05:07That is no experience of cinema.
05:09That works very well for these action films.
05:14There is nothing to contemplate on.
05:16There is nothing to learn from the visual.
05:20Nothing to learn from the subtle sounds.
05:23All that is lost there, you know, in a Dushim Dushim kind of thing.
05:28You don't need to even apply your mind.
05:32So...
05:32It's time for us.
05:33I cannot take my mission to make films in that lighter way, like that, no.
05:41Interesting.
05:42Interesting take, sir.
05:43Let me talk about the film that you're now coming back with, Padhi Atra.
05:48It's with Mamuka.
05:50After 32 years, you're working with him.
05:53You're back after 10 years, like I said.
05:55Is it the same?
05:57What's the Mamuka magic, sir?
05:59Can you explain that to me?
06:02No, no.
06:02It's actually...
06:03I have read only very few films, as you know.
06:05Only 13 films, including the new one.
06:08Yeah.
06:0913 films.
06:10Of that, I...
06:11Normally, I don't repeat my lead actor in the films.
06:16Mamuka is the only exception.
06:19So there's a reason for that.
06:20Yes, the only exception.
06:22Because he has...
06:23We have worked together for...
06:24On three films already.
06:26This is the fourth one.
06:28So that way, he's an exception.
06:30In every...
06:31In every way.
06:33So I went to...
06:35Mamuka heard about my wanting to make a film.
06:38And of course, he knew that I wanted him to act.
06:41Then he told me,
06:42Sir, I would like to make this film, produce this film.
06:46So, I was very happy to hear that, because...
06:50And then he told me,
06:53Whatever you want, you ask me, it will be given.
06:56As a producer, you know,
06:58That was a great offer.
07:00And...
07:02And he has a role which is perfect for him.
07:05And I could not think about anybody else in that role.
07:09Has he changed, sir?
07:10Has he...
07:11I don't know whether someone like Mamuka can even evolve as an actor,
07:14because he's always been at his peak, right?
07:15Yes.
07:16But you've seen him for so many years.
07:18Has he evolved?
07:19Is that possible?
07:20Of course, he's not...
07:21He's not the same actor I worked with in...
07:24Really?
07:24In the first film.
07:26So, better actor.
07:27When I cast him in a role in the first film,
07:30even...
07:31At that time, he was already a star, a big star.
07:34Only difference was, he never quoted any price for him.
07:39Never.
07:39He has never asked me for this money or that money.
07:44No.
07:44He knew that he will be paid, but then according to the budget only.
07:49I have a budget.
07:50Always I work with a very detailed work budget.
07:55And I never cross that budget.
07:58And because I calculate, I can...
08:01Of course.
08:01The pre-preparation for the filmmaking is so tight.
08:04It is very tightly done.
08:06I finish my film in the least number of days.
08:11Always less than a month.
08:13And in one go, always.
08:15So, I choose my artists in such a way that
08:19I tell them beforehand that you have to keep this time...
08:22Right schedule.
08:23I cannot have different schedules.
08:25Different schedules means more expense.
08:28So, it does not mean I am working on small budgets.
08:31And I tell people, look, I am not doing big budget film.
08:38No, neither small budget films.
08:41I am working with the right budget.
08:44Yes.
08:46Because I don't make any compromise because I don't have any money.
08:50I never do that.
08:51Because nowadays, sir...
08:52Again, I do not waste even a single pie, you know, extra.
08:57Because nowadays, sir, in posters, you will see a hundred crore, two hundred crore project.
09:02And then they'll say, we've earned five hundred crore, six hundred crores.
09:06Yes.
09:06None of that you believe in.
09:07No, I don't believe in that.
09:08You'll cut off all the zeros.
09:10Pardon?
09:11You'll cut off the zeros then.
09:13No hundred crores.
09:14No, you can't spend any amount of money, you know, under the excuse...
09:19On the excuse of making a film.
09:21I don't believe in that because it is even criminal to spend that kind of money on making a film.
09:28You don't need that money.
09:32You've given us a glimpse, sir, of what...
09:34And I was going to ask this because we spoke of the Mamuka magic.
09:37I want to speak about the Adur magic now.
09:39What is it, sir, that makes so many people connect with your films?
09:43Yes.
09:43What do you think it is that makes people feel that, you know, when we've seen this movie,
09:49we've lived through an experience and there's a connect.
09:51Is it an emotional connect?
09:53Is it with the kind of life that you bring alive?
09:56What is it, sir?
09:57It is all that, together.
09:59In fact, the film works it.
10:01And see, actually, I am borrowing two hours of your life to watch my film.
10:09So, I have to make it a worthwhile experience for my audience.
10:14I have to be...
10:14I am very responsible in that sense.
10:17So, I have to pack as much information as I come into the film.
10:21So, when you are...
10:23Just life, as you live in your real life,
10:28you don't...
10:29Just do one thing in one line.
10:31And there are several things you are living with.
10:33Yes.
10:34The same way, there are many layers to my work.
10:37That's what I weave into it.
10:39With the advantage that it can stand several viewings.
10:45And every new viewing, you will get new meanings.
10:49Wow.
10:50This is the idea.
10:51This is...
10:52And also, I am very particular that I am not making a film for the...
10:56Like a newspaper story.
10:58A newspaper story is just for that day.
11:00Yeah.
11:01Next day, it is old.
11:02I don't want my film to be old.
11:05Eternal, timeless.
11:06You know, it should be valid and relevant even for the coming days.
11:14So, it is not like that.
11:16And fortunately for me, people ask me about my old films.
11:21Even the first film that I made, second film,
11:24all that they talk with kind of nostalgia.
11:26So, that is very important.
11:29You mentioned, sir, about how you believe that films should have the right messaging,
11:35the correct outcome.
11:36Society learns from it.
11:39Very often now, we see a lot of films where the villain is glorified,
11:44where you'll have negative messages and the filmmaker says,
11:47look, the audience is mature enough to understand it,
11:50to take away what they need to from it.
11:52What do you think, sir?
11:53No, it's actually, I believe, because normally the commercial,
12:00the industry cinema in general,
12:06they believe that audience is stupid.
12:11Audience has no power to think.
12:14They are right also, in a way.
12:17If you try to make...
12:18There is a very tight rope walking.
12:21If you try to make the audience think,
12:25you will fail,
12:26because the audience doesn't want to think.
12:28They want to entertain me.
12:31Generally, generally,
12:32as a bias,
12:34as a whole,
12:36they don't want to think.
12:38Because, traditionally,
12:41cinema has been taken for
12:43as a way of
12:47passing type.
12:50In Malayalam, they say,
12:52Dairangolli.
12:56So,
12:57that is the role cinema was given,
13:00very traditionally,
13:01for a long, long time.
13:04But today,
13:05things have changed.
13:07It has gone through
13:08several lives,
13:11in fact,
13:12several deaths
13:13and real,
13:15no, reborns
13:16and all that.
13:17It has gone through the medium.
13:19It has come out
13:20as a great medium,
13:22probably
13:22the best man
13:24has ever invented.
13:28Wow.
13:29Yes,
13:29it has come from
13:30that small little stage
13:31when people wanted
13:32just to see
13:34movement reproduced.
13:35that was the dream
13:37of the mankind
13:38for several,
13:39several thousands
13:41of years.
13:42Finally,
13:42they discovered
13:43that it could be.
13:45Because,
13:46there came the
13:47technology also
13:48to their help.
13:50Right.
13:50You know,
13:51suddenly,
13:51we started making
13:52the,
13:53the,
13:54the,
13:55the,
13:55the,
13:56the recorded image
13:57moving,
13:57then recorded,
13:59you know,
14:00sounds,
14:01talking,
14:02all these
14:03became possible.
14:05And,
14:06and,
14:07and slowly,
14:08it,
14:08it started
14:09with imitations
14:10of other art forms
14:11like theater,
14:13literature,
14:14things like that,
14:15and even painting
14:16and all that.
14:17But then,
14:18then it grew
14:19slowly,
14:21with every new
14:22film being made,
14:23with every new
14:26artistic work
14:27being done
14:28in cinema.
14:29It went on
14:30developing its own
14:31character
14:32and soul.
14:34So,
14:34cinema has evolved
14:35as,
14:36as a great art form.
14:38We don't realize that.
14:39We look at,
14:40and respect things
14:42like theater.
14:44You know,
14:45the,
14:45you want everybody
14:46to make long speeches,
14:47and you want to clap
14:48and say all that.
14:50So,
14:51that primitive
14:52level of appreciation,
14:55we cannot make films
14:56for them.
14:57It's not possible.
14:58So,
14:59I,
14:59I,
14:59I believe that
15:00we can make them,
15:02make them start thinking,
15:06start associating
15:07with the visuals,
15:08because each visual
15:09has a different meaning.
15:11Each composition
15:12has a different meaning.
15:13Yeah.
15:14Then,
15:14just,
15:15the,
15:15the,
15:16the characters
15:17don't stand there
15:18just to deliver
15:18their dialogue.
15:20There is a lot more to it.
15:22You don't,
15:22they don't have to speak
15:23at all,
15:24most of the time.
15:25The visuals will show you
15:26what is,
15:27what,
15:28what,
15:28what you are going through.
15:30But I have to ask you this,
15:31sir.
15:32The reason is that
15:33now,
15:34especially,
15:34we see a lot of youngsters
15:36influenced by cinema.
15:37You know,
15:37sometimes you read
15:38these headlines saying,
15:39inspired by so and so film,
15:41by the climax
15:41and so and so film,
15:43this person has committed a crime,
15:44this person has done that.
15:46And then there are questions
15:47that are debate
15:48over whether the filmmaker
15:49should be held responsible
15:50for the message
15:51that was sent out
15:52to a youngster
15:53who committed this wrong.
15:55What do you think?
15:56Do you think that the filmmaker
15:57should be held responsible
15:58or this is a societal problem?
16:01No,
16:02actually,
16:05what people are doing is,
16:08what is easily consumable,
16:11they are producing,
16:12that's all.
16:13So there is,
16:14there is no such commitment
16:16as to provide them
16:17with the right kind of feeling
16:19from cinema.
16:21As I said,
16:22it's not teaching you lessons,
16:24it's not preaching you,
16:25in fact.
16:26It's a,
16:27as I look at it,
16:28it's,
16:29I am trying to share
16:30an experience,
16:31an experience which will,
16:33it is worthwhile sharing
16:37and it should have some meaning
16:38for my audience.
16:40Otherwise,
16:40why should they choose
16:41to come and see my film?
16:44So I,
16:45I have great respect
16:46for my audience,
16:47but they should also
16:48respect my work.
16:52That's what
16:53I ask in exchange.
16:56You know,
16:57it's,
16:57it's a fair bargain,
16:58it's a fair exchange.
16:58Yes,
16:59fair enough.
17:00You,
17:00for the last many years,
17:01as a legend
17:03in your own right,
17:03have also been very vocal
17:06as a very active citizen.
17:07You've spoken on
17:08politics in this country
17:10on several issues.
17:11And I want to understand
17:12from you, sir,
17:13is it
17:15opposition to one
17:16particular political party
17:18or do you believe
17:18that as a citizen
17:19there are certain issues
17:20that you feel
17:21you need to speak out on?
17:22See,
17:23I have nothing to do
17:24with politics.
17:25Nothing.
17:27Nor can I
17:28blame somebody
17:29for having won the election
17:31and ruling this country
17:33or the state.
17:34You know,
17:34I don't want to dabble
17:36in that at all.
17:38As a citizen,
17:41on certain issues,
17:42particularly when
17:43it is concerning cinema
17:44or my life
17:45or my brethren's life,
17:48I am concerned.
17:50As well,
17:51there is a great injustice
17:52on the face of something.
17:54Then I,
17:55along with other
17:56intellectuals,
17:57other artists,
17:58we express our view
18:00that it's not fair.
18:02We want to
18:04invite the attention
18:05of the
18:08powers that be
18:09that
18:10this is happening,
18:11it should not happen.
18:14more than that,
18:14I don't,
18:15I don't go into
18:16their politics at all.
18:17I am not
18:18interested in it.
18:19No,
18:20not at all.
18:21I have friends
18:22in every political party.
18:25You know,
18:26of course,
18:27they are,
18:27they are the right,
18:29because politicians,
18:30there are
18:31very good people.
18:32I don't say
18:32every politician
18:33is detestable
18:34or anything.
18:35No,
18:35no.
18:36they are wonderful
18:37people amongst
18:38the politicians.
18:41So,
18:41I have friendship
18:42with so many people,
18:43you know,
18:44irrespective of their
18:45political ideology
18:47and all that.
18:49So,
18:50it's as a citizen
18:50that you speak of.
18:51As a citizen,
18:53sometimes I feel guilty
18:54if I don't talk,
18:55talk out,
18:57speak out.
18:58Do you worry though?
18:59Because very often
19:00when you ask an artist
19:01to speak on an issue,
19:02they say
19:02that look,
19:03we'll be targeted
19:04by the political dispensation.
19:06Do you ever worry
19:06that your films then
19:07will be the target?
19:09That your art
19:10will be targeted?
19:12No,
19:13no,
19:13actually,
19:15it can happen,
19:17because immediately
19:18they will,
19:18some political parties,
19:20they,
19:21they look at,
19:22at a very
19:23simplistic level.
19:25When you,
19:26when you talk about
19:27as a citizen,
19:29they misinterpret it.
19:31They think
19:31this fellow
19:32is against us.
19:33Exactly.
19:34It's not fair.
19:35It's not fair.
19:36You know,
19:36see,
19:36as a citizen,
19:37I have a very right
19:37to talk about
19:38any issue
19:39that concerns a citizen.
19:41But I don't talk
19:43about every issue.
19:44I talk about
19:45only those issues
19:46about which
19:46I am knowledgeable,
19:49about which
19:49I am concerned,
19:50not everything else.
19:54Sir,
19:55in the last few seconds
19:56of this conversation,
19:59I'd love to know
20:00from you,
20:01is there any
20:02Malayalam film
20:03that you've seen
20:03off late
20:04that really stood
20:04out for you,
20:05any filmmaker
20:06you think
20:07is showing
20:07great promise
20:09to become a legend
20:10like Adur Gopalakrishna?
20:11I don't know
20:12about legend.
20:14I don't consider
20:15myself a legend.
20:16No, no, no.
20:16You're being modest.
20:17No, no, no, no, no.
20:18Actually,
20:19I just,
20:21I don't compromise.
20:23This is one thing
20:24I claim.
20:25I have never compromised.
20:28Every film,
20:29after finishing
20:30every film,
20:31I had the impression
20:33that I have done
20:34my best
20:35with every film.
20:36Which is your best film?
20:37That's what I'm seeing.
20:38At the moment,
20:39it's the last film.
20:40Oh, okay.
20:41So right now,
20:41it's Padhi Atra.
20:42Okay.
20:42This is my feeling,
20:44I'm telling you.
20:44I may be wrong or right,
20:46that's different.
20:47But I,
20:48this is the feeling I have.
20:49That means
20:49I have put in
20:50my very best
20:51into every film.
20:53I couldn't have made
20:54a better film
20:55at that point of time
20:56in my life.
20:57Because as I
21:00live along,
21:01as you pass on
21:03with the experience
21:04and things like that,
21:06you come to assume
21:07so many things.
21:08You learn many things.
21:10You unlearn so many things.
21:11Yeah.
21:12In that process.
21:13So that is a,
21:14in my case,
21:16it's a question of
21:19learning
21:19and revealing.
21:22This is the process
21:23I do in my films.
21:25So films,
21:27you know,
21:27one film
21:28will not be like the other.
21:30Because each time
21:32my concerns are different.
21:33You're learning differently.
21:34You're learning, yes.
21:35But tell me
21:36one movie, sir,
21:37that you saw recently
21:38that really impressed you,
21:39that you enjoyed watching.
21:40Oh, I liked a lot
21:42this film
21:43called
21:49I'll tell you
21:50by
21:52Christo.
21:53Okay.
21:54Called
21:58Adi Oduhruka.
22:00I think Adi Oduhruka.
22:01Okay.
22:01Isn't it?
22:02It's Adi Oduhruka.
22:05Pardon?
22:06Ullurka.
22:07Ullurka, okay.
22:07With Urvashi.
22:08Ullurka.
22:08Ullurka, yes, yes.
22:09Yeah, Urvashi.
22:10Yeah, Ullurka.
22:11You liked that movie.
22:12That's very good.
22:13With Parvati and Urvashi.
22:14Very good film, yes.
22:15That's his first film.
22:16Yeah, I agree.
22:17I enjoyed that movie too.
22:18Yes.
22:18So, it's good.
22:20I'm sure he'll keep this in mind
22:21now that you've praised it, sir.
22:22We wish you all the very best
22:24for Padhi Atra.
22:25I can't wait to see it.
22:26I can't wait to see Mamuka in action.
22:28Thank you so much.
22:29Thank you very much.
22:29Big round of applause, please,
22:31for Mr. Adir Gopalakrishna
22:32for joining us here
22:33at the India Today Conclave.
22:35Thank you, sir.
22:35Thank you very much.