Living the roles to the fullest

The popular antagonist Radha Ravi, as he reminisces about his journey in the Tamil film industry

With powerful performances for over 40 years, which have won him both critical and commercial appreciation, Radha Ravi leaves his stamp in every role — small or big, villainy or comedy. He uses his body language to great advantage, spewing villainy as it were, with his looks. His matchless ability and magnetism to excel in diverse genres of movies captivate audiences across the spectrum. Those who have seen his films swear by his performance and dialogue delivery. For instance, the famous dialogue Kooti Kazhichu Paaru, Kanakku Seriya Varum from the Rajinikanth-starrer Annamalai (1992). And there are many such. 

Excerpts from a conversation:

How do you manage to act quite effortlessly in front of the camera?

Maybe it’s because I don’t watch many films and try to copy others! (Chuckles). I’d rather say acting runs in my genes. I ventured into acting around 1974 and Rahasya Rathri, in Kannada was my first film. In Tamil, I debuted with Manmadha Leelai (1976). I just fell in love with acting. It was Kamal Haasan who introduced me to K Balachander. Eventually I got busy in cinema circuit. So far, I have acted in more than 300 films. Back then, I saw my dad (MR Radha) on stage shows, which motivated my entry into theatre. I am serious about the craft and even now I have an infectious enthusiasm about performing. In that way,  (Laughs) I do a lot of homework. I practice in front of the mirror to get my body language right. I think as a family we are blessed.

How challenging has it been for you to sustain as an actor?

I don’t set out a strategy before working on a film. Trust me; I don’t listen to the whole script when I sign any film. I am only concerned about my role and what it has to do with the audience. I think it’s a waste of time to listen to the whole narration or script. But I don’t stop when somebody narrates the story to me! Just that I don’t initiate it. I tend to go with my gut feeling and I stay true to what I am doing. I have come a long way in the industry and my career, donning different roles. 

I deliver my best every time. I put in my 100% when it comes to acting. Also, I feel mediocrity should never creep into any artiste’s life. Nothing deters me from playing my part once I wear the greasepaint. I get into the essence of the character. No film should be remembered as a bad film for an artiste. And while shooting, two things matter to me — timing and punctuality.

Tell us about the kind of films you like.

We need to think out-of-the box and be original. Also there is less of serious cinema, which should be improvised. I belong to old school cinema and I am a huge fan of timeless classics. At home, they don’t let me watch films because I turn too emotional. I cry whenever I watch Pasamalar (1961) or Mahanadi (1994).

How does it feel working with the young breed of actors and filmmakers?

I enjoy every moment of it. Young filmmakers are ambitious and as a senior artiste, I encourage them. They come up with interesting scripts and novel ideas.  And I am open to small-budget films.  Increasing the number of theatres would help small-budget films. I enjoyed acting in Pisasu (2014), Irudhi Suttru, Jil Jung Juk and Server Sundaram (yet to be released). Also, today’s audience expect different kinds of films. I can’t do what I did in the 80s. You can’t win if you talk too much as a villain. Your acting should do all the talking.

Which aspect of cinema interests you?

Everything about the medium fascinates me. I pay a great deal of attention when it comes to make-up. I hate when directors say, “I need this natural get-up, please come to the sets like the way you are, sir.” I want to experiment more with my personality. I wish filmmakers give me freedom to do the same. Like Kamal Haasan, I give top priority to costumes, including the wig I wear.  I have seen him perfecting the art of make-up for hours together. Make-up as an art goes much beyond your imagination. It elevates the screen presence to a great extent. Detailing is necessary; I don’t ignore trivial things.

You seem to have a strong opinion about everything...

I call a spade a spade and I have always been like this. I speak my mind. People call me arrogant. Of course, I have lost many films due to that. But it’s okay. I have calmed down a lot now. I used to be an ‘angry man’ earlier! (Grins).

You have had a long innings, Why have you never directed a film so far?

Direction has been on mind for the past 30 years. I’ll be making an official announcement on my directorial venture next month.

What’s next?

I don’t want to be idle; so I’ll keep doing films. I am updating myself in terms both script and technology. Maybe another Ratha Kanneer (1954)? That’s been on cards for sometime now. Not the same one, but I am tweaking the script according to the sensibilities of the present audience. I often contemplate remakes, but there’s also a fear of ruining the original. I want to do the contemporary versions of films like Enga Veetu Pillai (1965), Adutha Veettu Penn (1960) and Rudhra Thaandavam (1978).

(The piece was originally written for The New Indian Express)

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